Introduction to Goffman’s Dramaturgical Theory
In today’s digital age, identity is no longer a fixed role, but an ongoing performance. Goffman (1959) describes social life as a stage, with a front stage where we maintain a public image and a back stage for our private selves. This dynamic persists in the online world.
When I use social media, I often notice how I curate an online version of myself to fit a particular image. On WeChat (a Chinese social media platform), I usually select photos carefully for Moments and review my messages before posting. In a way, I am performing a version of myself that I want others to see. As Bullingham and Vasconcelos (2013) note, “People re-create their offline selves online, but edit facets of self.” My digital identity is not false; instead, it is a polished, socially acceptable version of who I am offline.
Case Study of Daydreamer
A clear example of this phenomenon is Daydreamer, a Chinese creator who went viral on Douyin (the Chinese version of TikTok). He is a student at the University of Manchester, sharing his life as a Chinese international student in the UK. Unlike many study-abroad influencers who display luxury or freedom, Daydreamer shows the ordinary, lonely, and sometimes awkward sides of student life. His videos, filmed on phones or GoPros, have a natural roughness that feels unfiltered and real. Through simple editing and direct narration, such as “who I am, where I am, what my state is”, he breaks the glamorous stereotype of overseas student and presents a relatable authenticity.
However, this “authenticity” is also a performance. In Goffman’s terms, Daydreamer engages in impression management by consciously creating a casual, unpolished persona that appears genuine. Interestingly, he also runs a smaller account focused on delicate writing and emotional expression, sharply contrasting with his main content. Both identities are real, yet both are carefully constructed. His life effectively becomes his performance, blurring the boundary between front stage and back stage.
Scannell (2007) argues that “Communication is a moral activity because it always implies others and our accountability to them.” Likes, comments, and shares are not just numbers; they are rituals that maintain the interaction order. Through these exchanges, Daydreamer’s identity is repeatedly recognised and affirmed by his audience.
This interaction between creator and audience illustrates that the self is no longer an isolated truth, but a negotiated result of communication. As Haziq (2019) observes, “Social media has become a nourishing ground for people to present multiple versions of themselves.” Online spaces are not only about self-expression but also relevant to seeking approval through the positive gaze of others. The more his audience recognises him, the more motivated he becomes to maintain his persona and create content that meets their expectations.
In conclusion, Daydreamer makes me reflect on whether “authenticity” itself has become a kind of performance. In the digital world, identity is not about pretending to be someone else, but about carefully managing how we are seen. Our digital identities evolve through every act of expression and interaction. As we express ourselves, we also become the selves we perform.
References
Bullingham, L. and Vasconcelos, A.C. (2013) ‘The presentation of self in the online world: Goffman and the study of online identities’, Journal of Information Science, 39(1), pp. 101-112. Available at: http://dx.doi.org/10.1177/0165551512470051 [Accessed 2 Nov 2025].
Featured image: shot by Monica Silvestre, Available at: https://www.pexels.com/photo/people-at-theater-713149/ [Accessed 2 Nov 2025].
Goffman, E. (1959). The Presentation of self in everyday life. New York: Doubleday.
Haziq, S. (2019) Putting the Best Digital Self Forward in the Age of Social Media. Medium, 16 April. Available at:
https://medium.com/@haziqsabreen25/putting-the-best-digital-self-forward-in-the-age-of-social-media-d3dbec422b73 [Accessed 2 Nov 2025].
Scannell, P. (2007) Communication as Interaction, In: Media and Communication. London: SAGE Publications Ltd. pp. 145-168. Available at: https://doi.org/10.4135/9781446211847.n7 [Accessed 2 Nov 2025].
