美国代写：同步的动作和行为习惯。通常，关于与行为有关的文化编码模式的讨论集中在性格在性别、阶级、性取向和种族上的演变(Lake, 1992)。这种独特的形式嵌入在特定的惯习或常识中，这是使人们在日常生活中执行有意识和非反射行为的第二本性(Britton, 2003)。这些习惯表演是居住的符号，思想和反应转变成习惯，是例行的。接下来美国代写专家将为同学们分析下有关同步的动作和行为习惯。
一个戏剧演员被习惯于反复扮演同样的角色，以至于习惯性的行为和反射性使它成为他的第二天性，这样自我监控就不再是必要的了。同样地，长期无意识地进行习惯性表演的人可能会突然发现这些表演是一种社会建构(Beal, 2008)。在不熟悉或不受日常社会环境挑战的语境中，面对不同的文化规范和误解，往往会揭示出不同的人的不同行为。这引起了人们对那些在其他情况下似乎是由常识支持的行为的高度意识。
社会生活被认为是天生具有戏剧性的，人类参与扮演着特殊的角色。这种角色在前台的情况下是显而易见的，并受到与印象管理相关的冲动的驱动，在这种情况下，绩效是战略制定的或目标的实现(Grollman, 2017)。然而，只有在非正式的、后台的和国内的地区，人们才会倾向于摘下口罩。后台区域的概念与日常生活的生殖功能有关(Lowrie, 2013)。为了确保这样的表演具有足够的说服力并能传达所要表达的意思，个人需要获得能力并再现可识别的表演惯例。日常生活中的习惯性行为包括不同的技巧，这些技巧是共同分享的，有助于达成有关适当或不适当的行动的工作共识(Britton, 2003)。表演可以是文化假设的离散具体化。受文化限制的程序包含在服装、风格、动作、表情、交流等方面。因此，行动需要学习，这样才能达到一定的能力水平，而印象的有效性则依赖于练习和排练(Frances, 2004)。在一个特定的社会背景下，演员的表演受到监视，他们经常受到旁观者和其他参与者的注视，这些参与者在表演中阅读传达的意义和分享的价值观。
A theatrical performer being used to play the same role repeatedly is so used to it that it becomes his second nature by habitual enactions and required reflexivity such that self – monitoring is not essential any longer. Similarly, habitual performances that have been unreflexively performed for a long time may be revealed suddenly to those who perform them as being social constructions (Beal, 2008). Being confronted with diverse cultural codes and misunderstood in contexts that are not familiar or challenged by situations not within the daily community tends to reveal different actions of different people. This induces the heightened awareness about what otherwise seemed to be enactions that are supported by common – sense.
Social life is considered to be inherently dramatic and humans are involved in playing particular roles.Such roles are evident in situations that are front stage and driven by the urge related to impression management where performances are enacted strategically or achievement of goals (Grollman, 2017). However, individuals are apt in removing masks only in a region that is informal, backstage and domestic. The idea that there is a backstage region is concerned with reproductive functions of daily life (Lowrie, 2013). To ensure such performances are adequately convincing and transmit the intended meaning, individuals are needed to acquire competence and reproduce recognisable performative conventions. Habitual performances in the everyday lives include different techniques that are communally shared and help in the achievement of a working consensus pertaining to appropriate or inappropriate enactions (Britton, 2003). A performance can be a discrete concretisation of the cultural assumption. Procedures that are culturally bound are enmeshed in clothes, styles, movement, expressions, communication and so on. Enactions need to be thus learnt so that a level of competence is achieved while the efficacy of impression is reliant on practice and rehearsal (Frances, 2004). In a particular social context, performances of actors are monitored and they are often subjected to a gaze that is disciplinary of both on – lookers and co – participants who read the transmitted meaning and share values within the performance.
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