props in both settings direct his action; he is being watched by an audience, but at the same time he may be an audience for his viewers' play. According to Goffman, the social actor in many areas of life will take on an already established role, with pre-existing front and props as well as the costume he would wear in front of a specific audience. The actor's main goal is to keep coherent and adjust to the different settings offered him. This is done mainly through interaction with other actors. To a certain extent this imagery bridges structure and agency enabling each while saying that structure and agency can limit each other. Translated titles Since the metaphor of a theatre is the leading theme of the book, the German and consequently also the Czech translation used a fitting summary as the name of the book We All Play-Act (German: Wir Alle Spielen Theater; Czech: Všichni hrajeme divadlo), apart from the names in other languages that usually translate the title literally. Another translation, which also builds on the leading theatrical theme, rather than the original title, is the Swedish title of the book Jaget och Maskerna (The Self and the Masks). The French title is La Mise en scène de la vie quotidienne (The Staging of Everyday Life). Similarly, in the Polish language the book is known as Człowiek w teatrze życia codziennego (The Human in the Theatre of Everyday Life). Concepts Definition of the situation A major theme that Goffman treats throughout the work is the fundamental importance of having an agreed upon definition of the situation in a given interaction, which serves to give the interaction coherency. In interactions or performances the involved parties may be audience members and performers simultaneously; the actors usually foster impressions that reflect well upon themselves and encourage the others, by various means, to accept their preferred definition. Goffman acknowledges that when the accepted definition of the situation has been discredited, some or all of the actors may pretend that nothing has changed, provided that they find this strategy profitable to themselves or wish to keep the peace. For example, when a person attending a formal dinner—and who is certainly striving to present himself or herself positively—trips, nearby party-goers may pretend not to have seen the fumble; they assist the person in maintaining face. Goffman avers that this type of artificial, willed credulity happens