戏剧:瞻博摄政时期古米提尔山路敬畏表演者社会生活的前台表演

Febriyanti Alya, Janah, N. Husna, Silvia Lusiani
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引用次数: 0

摘要

敬畏者 "的社会现象发生在珍宝县加拉汉村的古米提尔路上。在古米蒂尔小道的边缘,有一群被称为 "威威 "的居民,他们最初的角色是为道路使用者提供信号和指引。但随着时间的推移,他们的角色发生了转变,变成了乞丐,这反映了社会的重大变化。研究人员发现,"敬畏者 "的行为反映了 Erving Goffman 提出的 "戏剧化 "理论。在日常生活中,敬畏者在前台扮演一个角色。另一方面,他们也在后台隐藏自己的真实生活。本研究揭示了他们社会生活的复杂性,他们因经济条件限制而选择这份工作的原因,以及他们如何使用各种策略来维持乞丐角色。采用的研究方法是人种学的定性方法,通过观察、访谈和记录来进行。研究结果有助于深入了解阿威阿威演员在其生活的前台和后台的社会互动情况。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Dramaturgi: Sebuah Pertunjukkan Panggung Depan Kehidupan Sosial Para Pelaku Awe-Awe Jalur Gumitir, Kabupaten Jember
The social phenomenon of awe-awe actors that occurs on the Gumitir route, Garahan Village, Jember Regency. Along the edge of the Gumitir lane, there is a group of residents known as "Awe-awe" who initially had a role to help road users by providing signals and directions. But over time, they switched roles to become beggars, reflecting significant social change. The researcher found that the behavior carried out by the Awe-awe actors is a reflection of the Dramaturgy theory proposed by Erving Goffman. In their daily lives, awe-awe actors have a role that they play on the front stage. While on the other hand, they also hide their real life on the backstage. This research reveals the complexity of their social life, the reasons they choose this job due to economic limitations, and how they use various strategies to maintain the role of beggars. The research method used is qualitative with an ethnographic approach, using observation, interviews, and documentation. The results of the study provide insight into the social interactions of Awe-awe actors on the front stage and back stage of their lives.
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