Exploring the Intricacies of Theatre: A Discourse Community

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Pause for a second and think about a play or musical that you have seen. Consider the plot, whether you liked it or not and if the experience was positive or negative. Think about the characters, the costumes, and the emotions that were emitted. The discourse community of theatre is unique in the way that it is so complex and there are many different parts that ultimately come together to create a dynamic whole. The term discourse community is rather broad, but John Swales in his article “The Concept of Discourse Community” gives six characteristics that define it. Swales lists them saying, “A discourse community has a broadly agreed set of common public goals, has mechanisms of intercommunication among its members, uses its participatory …show more content…

They summarize the term as “the action of one person interfering with another person's actions or thoughts to help him”. They describe the one doing the interfering as the “Paternalist” and whom break the moral rules of independency because they restrict the other person’s-who may be the reader, bystander or audience-freedom without their consent. Geisler and Penrose state that this act is called Paternalism because the one who is doing the restricting does it in a “fatherly, benevolent way, that assumes that the person being restrained will appreciate the action later”. Paternalism can be effective not only in reading and writing, but I think a great part of acting and theatre is Paternalism. Theatre can influence the way someone sees and perceives something. In literature, the writer is almost always a form of a paternalist. Whether they are consciously aware of it, there is a reason and motivation behind whatever is being written. It may or may not intentionally be a persuasive piece, but there is a point that the writer is trying to convey and they are trying to influence the thoughts of the reader. This can effortlessly be translated into theatre, with direct intentions and …show more content…

In 400-500 B.C. the initial motive for theatre and performing arts was not entertainment, but specifically for the people to see and hear stories about Greek heroes and gods. Oedipus Rex, is known for its horrific plot, but it was also one of the first performed plays. It was controversial and caused distress because the plot contended with their former believe about fate and one's control over their life. Theatre was used to influence the thinking of the audience and forced them to see things from a different perspective not only on stage, but in their life, long after the last scene was performed. This is where communication comes into play because if it is not carried out the way it was intended, one scene or line can change everything. For an actor, paternalism can take place the moment they audition and the script is in their hands. The process begins with reading the physical lines. Once they are read and understood, the creating of the character begins. Whether the character has 2 lines or 100 lines the character needs to be developed. Some of questions that need to be asked and answered are: who is this person, where are they going, who are they talking to, what emotions are they feeling and depending on the feelings, are they showing them through their words or body language? Their specific job is to have an understanding of what the piece is about and

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