Communicating Gender Differences through the Paralinguistic Mode of Drama as Evidenced in Selected Igbo Plays

Abstract

Drama is a literary genre whose nature lends itself to linguistic (literary) and paralinguistic (non-literary) modes of communication. Therefore, for an effective and affective communication of desired meaning to take place in drama, the two modes have to technically interact. The use of the two modes calls for an analysis of each of them. Often times, analysts or critics concern themselves only with the linguistic mode to the detriment of the paralinguistic mode. It is against the need for an effective and affective theatre communication that this paper attempts studying the paralinguistic elements or devices that account for communicating gender differences using these four Igbo plays, namely, Udo Ka Mma (UKM), Nwata Rie Aw? (NRA), Nke M Ji Ka (NMJK) and Obidiya (OB).  The study adopts a communicative act analysis approach to analyzing movements and actions, dramatic props and dreams as dramatic devices for realizing effective meaning in dramatic performances. However, the study holds that, it is the roles of female characters in a play that determine movements and actions that would be couched in its title. Again, the dramatic intentional fabrics used around characters tend to mark the female characters, while unmarking the male ones, thereby limiting the female characters to the domestic domain while the male characters are not limited but rather operate in the public domain. In essence, just as the linguistic mode of communication renders women invisible, so also does the paralinguistic mode.

Key words: Gender identity and gender role, Gender communication, and Dramatic performance.