You can have plenty of status without money. The headmaster at his martial arts studio has more status than a white belt, even if the white belt is loaded. Status is of course situational, ever-changing, and tremendous fun to watch.
In Impro, Keith Johnstone talks about status being the most important thing actors add to make their scenes instantly "life-like". Status is everywhere in our lives yet most of us ignore it--we know it happens but we don't like to think about it. It's only when you try to recreate life on the stage that you realize, oh shoot, people are all about status.
Another example would be the gulf between the landed gentry and the nouveau riche. You can buy a mansion and a fancy car, but you can't buy class. You'll be spotted as a moneyed prole the moment you open your mouth or pick up a fork.
Among the cosmopolitan elite, conspicuous consumption is considered utterly gauche; status in this subculture is demonstrated through knowledge of art and culture, through holding the right political opinions and being up on the right trends. Those same cultural status symbols would mark you as low-status in a conservative rural community.
A high-status advertising executive instantly becomes low-status if they're in a room full of hackers or conceptual artists, because their status is denominated in the wrong currency - they're just a sell-out. The symbols of their economic status actively undermine their cultural status. In certain circles, driving a Mercedes and wearing Armani are symbols of a life wasted in the corporate machine.
All status symbols are relative and context-dependent.
> "Try to get your status just a little above or below your partner's," I said, and I insisted that the gap should be minimal. The actors seemed to know exactly what I meant and the work was transformed. The scenes became "authentic," and actors seemed marvellously observant. Suddenly we understood that every inflection and movement implies a status, and that no action is due to chance, or really "motiveless." It was hysterically funny, but at the same time very alarming. All our secret manouverings were exposed. If someone asked a question we didn't bother to answer it, we concentrated on why it had been asked. No one could make an "innocuous" remark without everyone instantly grasping what lay behind it. Normally we are "forbidden" to see status transactions except when there's a conflict. In reality status transactions continue all the time. In the park we'll notice the ducks squabbling, but not how carefully they keep their distances when they are not.
Thanks! This is really great.
I will try to find more about this so if you have anything else to suggest apart from the original reference please share.
Mostly I would just recommend getting the book in the Kindle store or whereever! It's a very good read—people who've read it all seem to end up referencing it.
In Impro, Keith Johnstone talks about status being the most important thing actors add to make their scenes instantly "life-like". Status is everywhere in our lives yet most of us ignore it--we know it happens but we don't like to think about it. It's only when you try to recreate life on the stage that you realize, oh shoot, people are all about status.