One of the rhetorical dimensions on which theatre exists is the rhetoric of production. This implies that the production, through examples, takes and urges an attitude toward the text. This argument provides a foundation for both the nature and the implications of interpreters theatre productions that advocate social issues. Theatrical performances always deal with examples of anger, empty spaces, or accelerated tempo, and by set designers and directors giving concrete form to sets and characters, these things become concrete examples. Examples are rhetorical devices, and in the theatre examples exist not to serve a discursive end, but rather to imply the existence of human beings in action. Discursive playscripts use examples as support for propositions, so that the arguments are substantially weak and of secondary interest to the dramatic confrontation between characters. It is, however, this form of argument that strengthens interpreters theatre when applied in social contexts. The uniqueness of interpreters theatre in social contexts can be described by the term "access," which is defined as public performance for all citizens, not just experienced actors, and access both to the history and geography of a community's heritage and to the discussion of sociopolitical issues. By utilizing both the rhetorical and the poetic/dramatic elements in a unique manner, and by the use of nontraditional literature, audiences, and performers, interpreters theatre may become the megatrend that leads to a revival of man's classical beginnings, when oral interpretation was used to disseminate information and opinion. (CRH)