impression, that he or she wants to make on the other. These roles are subject to what is, in theater, termed breaking character. Inopportune intrusions may occur in which a backstage performance is interrupted by someone who is not meant to see it. In addition, there are examples of how the audience for any personal performance plays a part in determining the course it takes: how typically we ignore many performance flaws out of tact, such as if someone trips or spits as they speak. Within dramaturgy analysis, teams are groups of individuals who cooperate with each other in order to share the 'party line.' Team members must share information as mistakes reflect on everyone. Team members also have inside knowledge and are not fooled by one another's performances. Perinbanayagam's dramaturgical theory Performance There are seven important elements Goffman identifies with respect to the performance: Belief in the part that one is playing: Belief is important, even if it cannot be judged by others; the audience can only try to guess whether the performer is sincere or cynical. The front (or "mask"): a standardized, generalizable, and transferable technique for the performer to control the manner in which the audience perceives them. We all put on different masks throughout our lives. Dramatic realization: a portrayal of aspects of the performer that they want the audience to know. When the performer wants to stress something, they will carry on the dramatic realization, e.g. showing how accomplished one is when going on a date to make a good first impression. Idealization: a performance often presents an idealized view of the situation to avoid confusion (misrepresentation) and strengthen other elements (e.g., fronts, dramatic realization). Audiences often have an 'idea' of what a given situation (performance) should look like, and performers will try to carry out the performance according to that idea. Maintenance of expressive control: the need to stay 'in character'. The performance has to make sure that they send out the correct signals, as well as silencing the occasional compulsion to convey misleading ones that might detract from the performance. Misrepresentation: the danger of conveying a wrong message. The audience tends to think of a performance as genuine or false, and performers generally wish to avoid having an audience disbelieve them (whether they are being truly genuine or not). Mystification: the concealment of certain information from the audience, whether to increase the audience's