Dramaturgical perspectives have been used successfully in the past by crisis management researchers. However, previous contributions have been limited because they have been actor-centered, which has meant that they have tended to ignore the critical role that an audience can play in the drama of a crisis. This article therefore presents a "third act" in which dramaturgical perspectives are used to deliver an actor-and-audience centered analysis of crisis management. This third act is built around the dramaturgical concept of "characterization," which we introduce to assess how an audience receives the symbolic outputs and discourses that are produced by crisis actors. After this theorizing, we present an analytical model, which will allow future researchers to analyze the interplay between actor, audience, and legitimacy when examining crisis. We conclude by illustrating the model's analytical capacity via an examination of the role of leaders and experts during the COVID-19 pandemic.
| INTRODUCTIONThis article develops a specific dramaturgical lens, which we argue can play an important role in the analysis of crisis management. Two significant contributions to the crisis management literature have already shown how dramaturgical perspectives can enhance the analysis of crisis management. We call these two previous interventions "acts" in keeping with our focus on drama. Act one was presented by Paul 't Hart who established how crisis leaders often performed in "a dramaturgy of coping" (Edelman 1977, p. 49) that could influence crisis management policy via the production of "symbolic outputs" (t Hart, 1993). Act two was presented in the work of Maarten Hajer who extended that initial foundation by developing a "performative perspective" that showed, both theoretically and empirically, how crisis actors "perform authority" through discourse that is both staged and scripted (Hajer, 2009;Hajer & Uitermark, 2008). Act one therefore alerted us to the need to view crisis management actions through the lens of symbolic politics, and act two provided a dramaturgical toolkit to explore the nature of crisis discourse.