Introduction
Lyle Kessler’s play Orphans explores the consequences of poor parenting among children. It is the story of two grown orphans living in a dilapidated house in North Philadelphia. Although Treat, the elder brother, takes up the responsibility of raising Philip, the younger one, he takes away his chance of growing up like any other child. The two are later enlightened by Harold, who decides to be their surrogate father.
Analysis
Sociological Insights
Dramaturgy uses theatrical metaphors to explain everyday life and human behavior. Following Erving Goffman’s Dramaturgy, Orphans portrays the everyday life’s theatrical nature, as the characters assume different roles in various social settings (Lei, 2023). Treat assumes the elder sibling’s role is caring for his brother. Gender identity and socialization are manifested when the orphans have to live without their parents. In particular, Treat portrays the challenges that males face, including struggling for economic empowerment and personal identity within the community.
George Herbert Mead’s significant symbols are evident in the play. For instance, as the play begins, Treat sees himself as a tough and independent caretaker of Philip. Gender socialization is seen when Treat interacts with Harold, changing his self-perceptions. Through socializing with Harold, Treat knows that he ought to be a father figure to Philip, which is a male gender role. Therefore, the sociological insights in Orphans demonstrate that human behavior is shaped by the individuals with whom they interact.
Regions
At the front stage and backstage, the characters in Orphans exhibit behaviors that reveal their true identities. Erving Goffman’s Dramaturgy distinguishes frontstage and backstage behaviors (Lei, 2023). While frontstage behavior is what the audience sees and is part of the performance, backstage behavior involves actions that occur in the absence of the audience. When Treat asks Philip where he was in the Orphans, he states, “No, it is my secret” (Kessler, 2013). He continues, “I was hiding in there waiting for you to come home…” (Kessler, 2013). While the audience can see the inside of their house from the front of the stage, no one sees the room Philip is talking about from backstage.
Impression Management
Characters in Orphans engage in impression management within their house, which serves as the social setting of the play. When responding to why he likes staying in the hidden room, Philip says, “It got all of Mom’s coats in there”, creating an impression that he is stigmatized (Kessler, 2013). Meanwhile, degradation rituals are evident when Treat answers Philip, “We ought to get rid of them” (Kessler, 2013).
Philip’s statement portrays a disclaimer since he discredits his brother’s feelings. Unlike Treat, Philip appears emotionally stable in the context of an orphanage family. The manner of interaction in the play is that of a bully brother who limits his sibling’s self-identification.
Institutional Shadows
The family institution is exhibited when Harold takes over the parenting role and helps the two find their identity in the harsh social setting. Additionally, the criminal justice system is manifested when Treat hands Philip a knife and tells him, “Kill him!… I want him dead…” (Kessler, 2013). Inefficiencies of the marriage, family, and criminal justice system institutions contributed to the problems faced by the orphans.
Constructs
While self-worth refers to an individual’s belief in their values, self-esteem is the way individuals perceive themselves. Treat feels burdened with responsibilities and believes they are destined to poverty (Kessler, 2013). Meanwhile, Philip develops such low self-esteem that he is unable to interact with others and hides in the basement. Self-appraisal involves evaluating one’s actions and worth for a new identity. Harold, in the play, challenges Philip and Treat to confront their limitations and question the beliefs they have held about themselves.
Conclusion
Orphans explores the challenges orphans face in hostile social settings. The orphans lose their parents and must challenge their identity as orphan males. The play exemplifies George Herbert Mead’s concepts of significant symbols, front- and backstage behaviors, and impression management. The orphans’ problems are associated with the failure of marriage, family, and criminal justice institutions. Although the orphans struggle with self-worth and esteem, Harold encourages them to appraise themselves for a new life.
References
Kessler, L. (2013). Orphans. Grove Press. Web.
Lei, H. (2023). Study on the “performative” live learning phenomenon from the perspective of dramaturgical theory. SHS Web of Conferences, 168, 02027–02027. Web.