The Dramaturgy of Politics

Abstract

ANY SERIOUS student of politics who nowadays takes it upon himself to introduce new conceptual frameworks, new priorities, and new terms into the study of politics should tread carefully indeed. The proliferation of theory and speculation in political science defies our capacity to absorb, integrate, synthesize, and choose. Ideally, perhaps, ours should be a period more of consolidation and careful exploitation of what we already have than of mad dashes after yet more abstruse, more ambitious, and more doubtful formulae. It is therefore with apprehension that I approach the question of the relationships between the political process and notions of the drama.' This unease is, however, not unmitigated. I do not propose that the considerations I put forth be taken as a theory; indeed, they have few of the characteristics of a theory. I merely mean to suggest, first, that in addition to its other characteristics politics incorporates specific dramatic characteristics because politicians use dramatic devices; that at some points in the political process these devices are particularly salient; that, therefore, it is useful to know some principles of dramatic construction in order to appreciate politics fully; and finally, that these dramatic devices must become part of the traditional categories we use to analyze politics. I do not claim that the political process can be compared exactly to dramatic entertainment. Concepts which are similar by analogy are also different in important ways. Of course, the audience in the theater remains aware of its separation from the events on the stage.2 Rare indeed is the theatergoer who mistakes the play for real life. The use of a proscenium stage emphasizes the distance between audience and performance, and the introduction of theater-in-the-round reduces this gulf

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