Abstract
Translating the goffmanian theatrical metaphor has resulted in a theoretical displacement at the heart of his work. The dramaturgical aspect of social interactions has been exaggerated, leaving some initial nuances on the sidelines. Reading the English text again allows us to restore the original meaning of the goffmanian metaphor and make it an analytical instrument for social science. The article suggests rethinking the metaphor based on the study of theatrical improvisation, from which follows a model that takes into consideration the indeterminate character of social interactions.
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