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Kayland Sejour
Prof. Murray
English 1102
5 December 2014
Stage Management Discourse Community: Genre Analysis
Introduction
As a theater major and theater kid, my life revolves around the Theater and Performing
Arts community. However within these communities exist smaller subsets or discourse
communities. One specific discourse community is the Stage Management crew. In my own
personal theater I perform in, Fort Lauderdale Stage Players, we have a stage management crew.
The stage management crew exists solely in order to make sure that the plays ran smoothly on
performance night. Using a very specific way of communicating, our stage management crew
was always able to achieve the main objective. This specific discourse community is a
community that is often not looked at, since they arent onstage, however the language and
communication used within this community is very rare and deserves to be recognized by more
than just the theater community.
The stage management crew community fits every characteristic of John Swales definition
of what a discourse community is. Swales first specific criteria for a discourse community is
that the community has a broadly agreed common set of goals (Swales 24). The main goal or
objective of the community is to make sure that all the mechanics of the show run smoothly in
order to ensure a successful show. The stage management crew of Fort Lauderdale Stage Players
has different mechanisms of inter-communication among its members. Although some means of
communication are verbal through headsets and microphones (on show nights), most
communication is done in writing. The stage management crew have many meetings in order to

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discuss how to help the play run smoothly. They also use email in order to communicate with
member s about rehearsal schedules, changes that may need to be made in the script, and any
director comments or directions. Also they communicate on the scripts they are given, using their
own abbreviations and lingo. This type of communication (script notes) will be the genre
discussed later in this paper.
Participatory mechanisms that are used within the stage management crew in order to
provide info and feedback are called Questions sheets, Fort Lauderdale Stage Players makes
every member in the stage management crew write down any concerns or questions on a piece of
paper to be handed into the stage manager. This will also be one of the genres discussed later in
the paper. The stage management crew have their own very specific way of communicating or
very specific lexis. The primary lexis that exist is the terminology that the stage management
crew uses. This terminology is very specific and is understood by each member in the
community. Terminology include the abbreviations written in the margins in scripts.
Swales last characteristic in defining a discourse community is that the community has
members with suitable degrees of relevant content and discoursal expertise (Swales 26). You
have the novice members who are new and have to learn what all the abbreviations mean and
have to learn how to effectively communicate with the other members and essentially belong in
the community. You also have intermediate members who have been in the crew over the course
of a couple shows and may be appointed to high manager-like positions over the certain genres
that exist within the community. Lastly, you have the experts which are usually the stage
managers and sometimes the directors of the plays. The stage manager has done multiple shows
and knows everything that needs to be known within the stage management community. The

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director of the play also may be an expert in this community, because the director is involved in
every aspect of the show, including back stage where the stage management community exists.
Why this discourse community was chosen
I chose this discourse community, mostly due to my personal involvement in the
community over the last five years. Although I spent most of that time on stage, I have also
worked very closely with the stage management community, and worked within the community
for several shows. I also believe that many rhetoric researchers have no idea about the means of
written communication that occurs backstage. The language and communication used within this
community is very rare and deserves to be recognized by more than just the theater community.
However, I also chose this specific discourse community to discuss: whether or not the two
genres (script notes and Question Sheets) are effective means of communication within the
genre? Also, which genre is the better means of communication within the stage management
discourse community? I believe that that the two genres that are used within the community are
effective, but in separate ways. I will explore this more in my genre analysis.
Genre Introduction
Exploring the communication techniques with the stage management discourse community
starts with discussing the genre sets within the community. A genre set is a group of several
genres that predictably recur inside a domain-specified community, as defined by Charles
Bazerman (Honig 91). Although most communication is done verbally within the stage
management discourse community, the community could not successfully exist without the
written communication or genres that are in place. One important genre that is used in this
community is s the Question sheets. The Questions sheets were created after the community
decided they needed a form to handle any questions members might have. It includes the header

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for a name and topic, and then it has a space for the actual question. These question sheets are
means of communicating any questions or clarifications that arise in the community. The
concerns and questions are then addressed and answered in a meeting at the end of a rehearsal
week. This allows for participation from each member of this discourse community, where info
and feedback is given.
Another genre, which was also studied, is the use of stage directions that are written on
scripts. These stage directions are another means of communication within the community.
Although the stage directions written on scripts are not in any specific form, they do follow the
same patterns of using the same specific language within the community. These stage directions
are particularly important, because they are the main means of communication backstage
(Wilson). Wilson explained exactly what they would write on the scripts in order to
communicate. His explanations were that they used an extensive amount of abbreviations and
special words that only the members understood. According to Frank Smith, shorthand or
abbreviations must be agreed between all members and that the shorthand/abbreviations has
to stay constant in order to be recognizable. (Smith) By the community using abbreviations that
was understood by all members, it made their communication more efficient.
I chose to discuss the use of both the Question Sheets and script notes within the stage
management discourse community, because these genres are used so heavily in the community. I
want to compare their effectiveness in the community and whether or not these genres actually
create good communication between the stage management discourse community members. The
use of these two genres are very different yet they seem to help enhance the communication
within the community. The question sheets are used to address the issues of the community
itself, while the script notes are used to communicate backstage while the community is in

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action. I believe that these two genres are both effective in the community, yet they are only
effective if used separately and at the right time to when the community needs them. I wanted to
compare both genres holistically to each other to understand which one helps the community to
better communicate with each other. However, they cannot really be compared to each other,
because they are both so beneficial to the community in their own separate ways.
Methods
I began the second part of my analysis by researching anything that I could on my stage
management discourse community and researching the language that the community used. This
would become my MLA Annotated Bibliography. I started by conducting primary research first.
I wrote down my own observation about the stage management community from the 4 years that
I had spent in the community. I then conducted a phone interview with Javon Wilson (see
appendix), who was the Stage Manager for Fort Lauderdale High School Stage Players during
the 2013-2014 school year. Wilson introduced me to the many genres that were used in the
community. I then used the information from the interview to obtain examples of the genres that
the stage management community used. I contacted Fort Lauderdale High School Stage Players
director, Chrystina Catsicas, and asked for a copy of a blank Question Sheet. I received the
Question Sheet and analyzed the look and purpose of this genre. I also received a copy of an old
script that contained many script notes from the stage management community, during the high
schools production of Beauty and the Beast.
After conducting a lot of primary research, I then began conducting secondary research. I
researched through the University of Central Floridas online library, to find scholarly
information about backstage communication. I found Martin Cobins Communication Theory
and Theater: An Exercise in Relationship (a book that focused on the communication in theater

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in general) and Jenny Slatterys The Stage Managers Toolkit (a review of the role of a stage
manager in a theatrical production). I realized that it was very difficult to find specific material
about backstage communication, so I broadened my research and decided to look for information
regarding the language that was used in the written communication for the community. I found a
lot of abbreviations and technical writing in the script that I had obtained, so I specifically looked
for scholarly journals that discussed abbreviation and technical writing. I found Frank R Smiths
Six Principles for Using Technical Shorthand (concentrated specifically on six principles or rules
when it comes to using technical shorthand and how it was to be understood by all members
using it.) and Ellen T. Crowleys Acronyms, Initialisms & Abbreviations Dictionary (focuses on
explaining why abbreviations exist, how they are created, and how they could be understood).
I organized all the research into one paper at first and analyzed each source by itself. I then
positioned a short analysis under each source, in order to refer back to it for the next phase of my
research. The next phase of my research consisted of gathering all the research I had conducted
done so far, and comparing them to each other. This was my Data Analysis. I tried to compare
the primary research as best as I could to the secondary research in order to later connect them in
this analysis. I first looked at each source holistically to see if I could make any connections
before analyzing each source in depth. I then analyzed each source and connected the ones I
thought better related to each other. During this time I began to think of the genres that existed in
the community, and trying to narrow down which genre I felt needed to be analyzed thoroughly.
I also started to contemplate what arguments I would make in the next phase of my research.
Results
After I conducted all of my research I began comparing them all and coming to
conclusions after I compared them. In order to deepen my understanding of these two genres, I

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first consulted the interview I had with Javon Wilson (refer to Appendix), the previous stage
manager. He explained that his main job was to ensure that the entire crew worked together
backstage (Wilson). He discussed that the only way we [the stage management crew] could
communicate backstage, is with what we wrote on the scripts (Wilson). He also explained
exactly what they would write on the scripts in order to communicate. This showed the
importance of the genre stage directions during showtime His explanations were that they used
an extensive amount of abbreviations and special words that only the members understood.
According to Frank Smith the author of Six Principles for Using Technical Shorthand,
shorthand or abbreviations must be agreed between all members and that the
shorthand/abbreviations has to stay constant in order to be recognizable (Smith). By the
community using abbreviations that was understood by all members, it made their
communication more efficient. Further looking into the Beauty and The Beast Script notes, all
the notes that were in the script for stage management communication were constant (they all
were either abbreviated or short sentenced) . Ellen T. Crowley author of Acronyms, Initialisms &
Abbreviations Dictionary included many terms in her book that coincided with terms that the
stage management community heavily uses. Crowleys abbreviations related immensely with the
abbreviations that are included in the Beauty and Beast script notes, due to the fact that some of
the shorthand that was found in the notes were also found in Crowleys book. Wilson had also
mentioned that because of their specific communication in the scripts, every show during his
year went on perfectly.
Exchange of Information within the Community
Now, Martin Cole in Communication Theory and Theater: An Exercise in Relationship
discusses the importance of communication within the theater, stating that communication is the

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exchange of information (Cole 45). Wilson, in the phone interview, explained that exchanging
information through written communication was key to their shows running efficiently, and that
without the proper communication, the show would have been a disaster. This shows that the
communication is vital within this community, and leads to helping the community to achieve its
purposes and goals. Jenny Slattery author of The Stage Managers Toolkit: Templates and
Communication Techniques To Guide Your Theatre Production From First Meeting To Final
Performance furthered the argument that communication was important within the backstage
theater world. Slattery discussed the tools that stage managers can use in order to allow for
communication with all of their members, that Wilson also addressed during his interview. Both
agreed that constant exchange of communication between the stage manager and the stage crew
was needed throughout rehearsals until performances. Thereby furthering the argument that
communication is important in the community, and the ways that the community communicated
(through the question sheets, member contract, and script notes) was efficient in exchanging
information.
I concluded after analyzing the data I had collected that when it comes to achieving the goals
of the stage management discourse community, communication is key for a successful show.
The research shows the different types of written communication in the stage management
community, all aid in helping the community meet their purpose. Research also agreed that
communication has to be understood between all members in the discourse community in order
to be effective. The Question Sheets were shown to be very effective when it came to
communicating information that dealt with the community itself. The script notes were shown to
aid in communicating during shows backstage. All types of written communication that the
community relies on, were agreed to be important in the exchange of information. Wilson and

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Smith both agreed that the abbreviations and theater shorthand used in the written
communication has to be kept the same and in the same order so that every member can
understand it. This showed the importance of communicating, to even new members, the special
shorthand for the community. Written communication has proven to be very effective, yet is only
effective if every member truly understands it, and that process is pertinent to this research now.
Genre Analysis
After conducting all of my research I concluded that both the Question Sheets and script
notes are very effective ways of communication within the discourse community. However, they
are never used together, and that is why this makes both genres very pertinent to the community.
I learned that the Question Sheets are used to communicate within the discourse community at
any time, but mostly during the times when the community is not specifically backstage.
Meaning that the question sheets are important and effective when being used off stage (in order
to communicate questions and concerns outside of the actual theatrical production). The script
notes are just as effective in the community, but are only needed backstage during a show. This
means that this genre is not really effective when used communicate outside of an actual
theatrical production.
The Question Sheets and the Script notes cannot be compared to each other. Since they are
only effective when used in different situations, I cannot compare their effectiveness against each
other. I also cannot compare which genre is the nest means of communication in the stage
management discourse community. Both genres are the best means of communicating within the
community. However, question sheets are the best means for communication off stage while
script notes are the best means of communicating on stage/backstage.
Conclusion

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I found that the data that I collected and analyzed helped to answer the questions of:
whether or not the two genres (script notes and Question Sheets) are effective means of
communication within the genre? And: which genre is the better means of communication within
the stage management discourse community? I discovered that both genres are very effective in
communication within the community, yet they are only effective if used differently. This means
that the two cannot generally work as genre set in this community, because they are only
effective apart. I also found that I cannot compare which genre is the best way to communicate in
the discourse community, because they are both used so differently and their purposes vary
depending in the community needs.
My original argument that both genres were effective means of communication within the
community, yet only if used separately was found to be true after analyzing the purpose of the
genres within the community. The previous research that I conducted helped to support my
argument throughout this analysis, by reiterating the importance of written communication, as a
fundamental key to communicating effectively within a community. The end result of my
analysis is that because both the Question Sheets and the script notes cannot be compared to each
other when it comes to judging their effectiveness within the community, they are then both the
best means of communication within the community.

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Work Cited
Catsicas, Chrystina. Questions Sheets Fort Lauderdale High School 1995. Print
Cobin, Martin. "Communication Theory and Theater: An Exercise in Relationship."Rhetoric
And Communication: Studies in the University of Illinois Tradition. Urbana: Published
For the Department of Speech Communication by the U of Illinois, 1976. 113-27. Print.
Crowley, Ellen T. Acronyms, Initialisms & Abbreviations Dictionary: A Guide to Alphabetic
Designations Contractions, Acronyms, Initialisms, Abbreviations, and Similar
Condensed Appellations. Detroit: Gale Research, 1976. Print
Slattery, Jenny. "The Stage Managers Toolkit: Templates and Communication Techniques
To Guide Your Theatre Production From First Meeting To Final Performance By
Laurie Kincman (Review)." Theatre Topics 2 (2013): 222. Project MUSE. Web.05 Dec.
2014.
Smith, Frank R. "Six Principles for Using Technical Shorthand." Basic Technical Writing.
Vol.7. Washington, D.C.: Society for Technical Communication 1987. 47-51. Print
Swales, John M. "The Concept of Discourse Community." Genre Analysis: English in
Academic and Research Settings. Cambridge: Cambridge UP, 1990. N. page. Print.
Wilson, Javon. Stage Management Director. Telephone interview. 5 Dec. 2014.
Woolverton, Linda. Disney's Beauty and the Beast JR. Disney Theatrical Productions,
2000. Print

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APPENDIX

Phone Interview Transcript

Javon Wilson
September 17, 2014

Sejour: Good Afternoon Javon Wilson. Thank you for agreeing to interview with me
Wilson: No problem
Sejour: I am just going to ask you a few questions. Id first like to ask you what your
role was at Fort Lauderdale Stage Players theater
Wilson: I was the Stage Manager during the 2013-2014 school year
Sejour: What was that job like?
Wilson: It was fun yet stressful, I had a lot of responsibility. My main job was to ensure
that the entire crew worked together backstage and to guide everyone. This was to
make sure that the show [theater production] ran smoothly without anyone backstage
causing any problems.
Sejour: How were you able to make sure that the crew worked together effectively?
Wilson: It all came down to communication. We had to have great communication in
order for everything to run smoothly. Without it, the show would be a disaster.
Sejour: What type of communication existed between you and the stage management
crew?
Wilson: We had our member contracts that communicated the rules that each member
had to agree to. We had these things called Question Sheets. We also had notes written
on the scripts we were given backstage.
Sejour: Can you elaborate on the Question Sheets?
Wilson: Sure. They were forms that members could write questions or concerns on. We
would then take the information from these Question Sheets and then discuss them
during weekly meetings.
Sejour: Now can you elaborate on the script notes?
Wilson: Yes. We would write notes with our own specific abbreviations. Only the crew
members understood what the notes meant. They were are only means of
communication backstage. The only way we [the stage management crew] could
communicate backstage, is with what we wrote on the scripts.

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APPENDIX
Sejour: How were you able to see the notes backstage?
Wilson: Well each crew member had a flash light or head lamp to see their scripts.
Sejour: Thank you for answering all my questions
Wilson: No problem. Goodbye
Sejour: Goodbye

[phone click]