Abstract
Whatever the historical truth of this anecdote, it dramatizes a truism about the relationship between theatre and throughout Western history. Ever since theatre emerged as an aesthetic mode, both theatre practitioners and politicians, from Thespis and Solon to Harold Pinter and Ronald Reagan, have had to deal with the affinities between and theatre. As Erving Goffmnan wrote, All the world is not, of course, a stage, but the crucial ways in which it isn't are not easy to specify (Goffman 1959:72). Substituting politics for the world, the same might be said about political life. In what sense is dramatic and theatrical? Or, to follow Goffman more closely, in what crucial ways is not theatrical? Since the 1960s a cross-disciplinary field of research and discourse in the social sciences, known as dramaturgy or dramaturgism, has burgeoned under the application of such questions to social interaction.' The field has historical
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