Coaching Profession: Acting as a Coach

Abstract

Through the adoption of a dramaturgical perspective, this chapter positions coaching as being somewhat akin to a theatrical social performance. From this standpoint, coaching work entails much more than the routine application of pre-packaged knowledge and methods. It also requires coaches to carefully consider (and reflect upon) their interactions with others, inclusive of how they manage and display various emotions within the coaching environment (Cassidy et al., 2016;Nelson, et al., 2014). In terms of its structure, the chapter begins by introducing the notion of dramaturgy. This background material is followed by an overview of the classic dramaturgical writings of Erving Goffman and Arlie Russell Hochschild. Here, we highlight some essential features of their respective theorising that can stimulate critical reflection upon the dramaturgical aspects of coaching (Cassidy et al., 2016). After the theoretical backdrop is presented, the focus then shifts to reviewing the (limited) available literature addressing how coaches engage in various acts of impression and emotion management to achieve their goals. In concluding the chapter, the main arguments are summarised and a number of 'key points' that coaches (and coach educators) may wish to critically reflect upon are presented.

A case study of behaviour: Differences between a head coach and player-coach

“…In particular, we feel that the respective works of Goffman 49,50 and Hochschild 51,52 could be used to understand more about the what, how, and why of player-coach behaviour. 53 Here, Goffman's ground-breaking dramaturgical theorising could be used to explain how player-coaches (and athletes) come to understand, interpret, enact, and experience their inter-active social roles. For example, using the concept of front to explore player-coaches’ and players’ interpretations of how and why player-coaches stage their behaviour by adopting greater levels of instruction.…”