Week 5 Reflection: Casablanca as a Stage for Social Performance — Unmasking the Self
Name:CHENYUNLIN
From Romance to Performance — A New Perspective on Casablanca
This week, we revisited the classic film Casablanca (1942) through the lens of sociologist Erving Goffman’s dramaturgical theory. Previously, I saw it as a wartime love story — a timeless classic full of romance, patriotism, and sacrifice. But with Goffman’s insights, I now see it as a story about performance, identity, and the ways we present different versions of ourselves to different audiences.
Life as Theater — Every Character Is Both Actor and Audience
Goffman compares everyday life to a theatrical performance: we act out roles on the “front stage” for others, while our more honest or unfiltered selves emerge backstage. His core idea is that the “self” is not fixed, but something we actively construct depending on the social context.
This concept is vividly portrayed in Casablanca, where characters are constantly shifting roles depending on who is watching, what’s at stake, and what must be concealed or revealed.
Rick: A Master of Impression Management
Rick (played by Humphrey Bogart) is perhaps the clearest example of Goffman’s ideas in action. When we first meet him, he appears cool, detached, and indifferent to politics or romance. This is his carefully managed front-stage persona, designed to keep others at a distance.
However, as the story progresses — especially in scenes with Ilsa — we catch glimpses of Rick’s backstage self: a man full of emotion, regret, and moral conflict. According to Goffman, this is a moment when the performance breaks down and a more “authentic” self briefly surfaces.
What’s fascinating is how Rick navigates different audiences. He shows disinterest to the Nazis, detachment to the refugees, and both bitterness and longing to Ilsa. He is constantly adjusting his role based on who’s watching — a classic example of Goffman’s idea that identity is socially constructed and fluid.
Ricks Café: A Front Stage for All
Rick’s café itself feels like a literal stage, where multiple performances unfold simultaneously. Spies, refugees, soldiers, and lovers all gather here — each performing in a way that helps them survive or belong.
Everyone at the café is playing a role. They maintain an illusion of neutrality and politeness, even as tensions simmer beneath the surface. Goffman’s ideas about the definition of the situation and the shared understanding of what is happening are crucial here. Everyone is aware that they are part of a complex and fragile social script.
Reflection and Questions
This week’s discussion made me think not only about the film, but also about real life. Are we all performing every day? Are the versions of ourselves we show in class, online, or among friends truly who we are?
Goffman offers a new way of understanding identity: perhaps there is no single “real me,” but rather a set of selves that shift depending on context and audience.
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