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That is how Dramatica helps you identify where thematic conflict lies.

Take a look at this from the Dramatica Website:

http://dramatica.com/theory/tip_of_month/tips/tip1203.html

Well, I did see a post from Chris here somewhere (I looked for it, but the search engine on this site is not very helpful) where he explains this in more detail.

Hopefully he will chime in here again and can direct you to it.

I was also very confused at first when I saw the "mismatched" themes in the Plot Sequence report, and feel that the software should show these relationships elsewhere as well, such as when you're doing the story weaving. But after reading the article at the link I posted above I understood much more clearly what was going on.

The Theme Browser is nothing more than the "neutral" structural chart stuck into the software. In contrast, the Plot Sequence Report verbally describes the structural chart once it has been "wound up" to create dramatic tension.

If you want to use the Plot Sequence Report to build thematic scenes, then DO NOT use the Theme Browser. They are two views with different perspectives. The Theme Browser shows you the storyform from a neutral, objective vantage point. The "twisting" created by the story's problem (inequity) is visible by looking at the Signpost order, but no where else in that view.

The Plot Sequence Report shows the twisted, subjective view of the storyform -- what it looks like from the inside -- and shows both the signposts and the theme Variations aligned with those throughline signposts IN THAT PARTICULAR STORYFORM. It is impossible to reconcile the two views, even though there are similarities between them.

So, when using Armando's book, "Dramatica for Screenwriters," use just the parts he suggests when examining the Types and Variations (signposts and themes). Do not worry about aligning the Domains and Elements.

Cheers,