Extra Credit - Casablanca Film - Fatima Paulina Lopez Diaz

 Understanding Casablanca Through Goffman’s Dramaturgical Theory

Goffman’s dramaturgical theory centers on the idea that individuals present themselves in ways that will be accepted by others, much like actors performing for an audience. He separates this behavior into "front stage" (public behavior) and "back stage" (private self). In this movie the main characters constantly shift between these two stages, revealing the complexities of their identities and choices.

Take Rick Blaine, for instance. On the front stage, Rick is the cynical, detached owner of Rick’s Café Américain. He claims to "stick his neck out for nobody" and maintains an emotionally guarded character. However, in the back stage, when hidden from the public eye, Rick is a man deeply affected by love and loss, especially his past with Ilsa. His front-stage performance is a defense mechanism to protect his vulnerabilities.

Ilsa Lund, too, performs her role with duality. In public, she appears calm and composed, a woman seemingly torn between two men but  her internal conflict and emotional turmoil are carefully concealed for the sake of preserving dignity and composure in a chaotic political environment, this part of herself is only shown in the back stage. 

By using Goffman’s dramaturgical theory, Casablanca becomes more than just a love story set during a war. It turns into a story about how people act differently depending on who is watching and what is expected of them. The characters aren’t just reacting to what’s happening around them, they are choosing how to behave based on the roles they feel they need to play. Goffman’s ideas help us see that everyone in the film is putting on a kind of performance, trying to protect themselves, their secrets, or the people they care about. This makes the film easier to understand and shows us just how deep and meaningful it really is.