Game-theater is a hybrid phenomenon which arises from the Intermediality of video game and theater. This inter-medial production carries the features and specifications of both performing events. The immersed atmosphere of this hybrid performative phenom-ena leads to a unique theatrical experience, actively engaging participants in the per-formance space. Although theatre audiences always participate in any theatre as a spectator, in game-theatre, audience participation is not passive since it is inevitably necessary for the completion of the performance. The audience is not only the player of a video game but also acts as a character in the play. Therefore, the spectator is trans-forming to spect-actor. Other creative members of the group (including actors) should adjust and react according to this active participation. In this interactive theatre produc-tion, the spect-actor is free to choose actions, interact with actors and wander in the ar-chitectural space of the performance on the basis of a story telling event. Considering the nonlinear, live and interactive nature of this production, the script keeps an open structure in order for the variables that are brought into the performance by the audience participation. In other words, the participant’ s choices, actions and gestus in combination with a narrative dramatic core give birth to a performance-text particularly designed for an immersive and interactive performance. This text transforms with each and every participant. The participant not only interacts with the performance on stage but also with the script. These features give an unpredictable characteristic to game-theatre, however the shaping the whole process is based on a dramatic core which is a way to unify all actions. Furthermore, it helps the performance to maintain its goal that is the final promised achievement similar to video games. This final achievement and predictable future is very similar to the determined destiny of a tragic character. During the performance, the spect-actor should challenge with side quests, a turning point and a resolution to carry on the predesignated mission. One should note that in the first en-counters with a production, the spectator doesn’ t have skills and knowledge equal with other prepared members of the performance group. Therefore, the simplicity and familiarity of the narrative and the initial introduction of characters are essential. Aristotelian drama can provide an appropriate narrative core to encourage role-playing and action. However, according to the dynamic and ever-changing nature of game-theater, the script is not anymore a solid base from which to perform, but it should be considered as a foundation material which undergoes a transformation. Hence, the concept of change in media according to the theory of intertextuality, can validate the inevitable dynamic transformation of Aristotelian plays into a performance text while performing game-theater. In this process, the encounter of spectator as a cultural text with an Aristotelian drama as the hypertext, produces a performative intertext. This intertext contains both verbal and performing elements and should remain open to audience participation. This study tries to explain how the process of interaction and co-execution affects the struc-ture and dramatic elements of an Aristotelian drama as an appropriate dramatic core for game-theater

T.V program makers send a prevailed meaning trough image and sound to audience as the central message. However, the final received messages are those the viewer perceived. The process of understanding the perception of audience of TV programs and its use in everyday life by theory of reception analysis shows that the audience is not alone in the opposite of media. On the contrary the perception is surrounded by a circle of social relationships which influence on the interpretation of texts. So the audience’s perception is a social process rather than individual. This paper trough an experimental research and with an emphasis on the results of “Discourse Reception Analysis of Highly Popular T.V Serials among Females” explain that the perception of audience from media texts are more impressed by the social relationships rather than sent messages from program makers.

The article examines the effects the television exerts on modernism through its audience. In studying the audience factors such as the degree of exposure to the media, the content of exposure, the varying socio-cultural backgrounds play a central role in efficacy of the message. The above perspective has seldom been considered in domestic Iranian research. The basic question of this research is to understand how a type of audience activity influences television impact's on modernism. Therefore, it is necessary that the relationship between television and modernism be specified within the sample population. Then, one may go on studying the audience's role and position in such a process. This is a survey research, which includes a sample of 1047 taken from households residing in Tehran's 22 city districts. The findings show that television impacts audiences differently, given their various socio-cultural groupings.

Classic Aristotlian drama based on essential elements in its connection with the spectators is practically a one way course of action that ultimately aims to entertain and influence viewers. New approaches of interdisciplinary studies on narratives have provided the grounds for the possibility of increasing the role of the audiences and their mutual participation in story making. The emergence of computers into dramatic domains has caused new aspects of narrative models. Dramatic logic of the narrative based on computer factors are pointed out and classified. This classification provides the possibility of creating and generating various narrative models for user-audiences who, as well, are viewers, the intervening agents of narrative softwares. Generally, interactive dramas have been limited in a the sense that the audiece is although considered a vibrant player, he/she can only make decision that have already been decided and set forth in the program. Here, we are propsing a new strategy of taking new directions. The interpretive process for writer/player/domain could pave the way for creativity. As a new kind of virtual dramatic relationship, interactive drama, is the result of an interaction between computer and dramatic disciplines. This interaction itself is the consequence of a modern alliance between traditional audiences and dramatists. In this new process, the audiences are able to aesthetically manipulate the development of a narrative formation and change the actions taken by characters. They can actively alter and modify the directions a story may take. The user of narrative sofwares reestablishes his/her own position during the process as a new key factor. Hence, a new domain of narrative story telling has been establishes in which the dramatists and audiences work within the boundaries of imagination and the probabilities available within the computer algorithms. One of the main characteristics of this interactive drama is that it is an open-ended narrative which can be influenced by the player/audience. The effects of this type of drama may therefore go beyond catharsis through identification with the main character(s). Very close to the idea of the "willing suspension of disbelief' theory, the (active) audience might immerse himself/herself in the work to have a unique and independent experience. Thus becoming a powerful agent who can perform independent actions based on the character's intentions and could in effect transform himself/herself. If we consider the uses of computer drama in conjunction with the possibilities of multimedia in a way that the users, while in a text, would be able to move their characters in desirable environments and, based on their characteristics, can change locations at will and thus redefine their relationships with other users on-line, we can appreciate the strength of the dramatic value of the interactive virtual multimedia potentials. Analyzing the dramatic models by computer logics reveals undiscovered possibilities which could help recon figurate fictional dramatic events. Interactive Drama indicates a dynamic relationship for the virtual aesthetics and also for the interdisciplinary study of arts and technology. These new grounds may provide fresh material for the already established dramatic media and hence their use in the development of material for theatre and film.

Resistance litreature in Iran got a serious development by the forced war. That one of the results was the appearance of the " Holy defence poem". The holy defense poem is a representation of thoughts & emotions, the alot of people of Iran in an area of the history. That you can notice the effect on the readers. Among these aspects, use of some special topics, as the readers like & also a direct address to a group of readers. In this reaserch with analyzing 100 poems with the holy defence theme with the " library picking card " way. first of all recognizing & derivation of direct readers ( who are directly mentioned by the poet ) gets proceed & then with seprating the readers into 2 groups of "Afaghi" & "Anfosi" checked adverably. The "Afaghi" readers go by 6 indivisual smaller groups named as "Ghodsi", "National & popular", " Worldwide", "Figurative", "Legendary", " Semantic & implicit" readers, it shows the right effect of readers on the dynamic poem in this area of time. The outcome of this reaserch represents that martyries, devotees and alturists are figuratuve ingredients and saintly men like Imam Zaman, Imam Hosein and Imam Khomeini are the indivisuals that the poet directly mentioned their name. Which shows the poets attention to the special & common readers.

This paper will examine the problematic of public science that scientific magazines in Iran set it to be their communication agenda. The problem, however, is that after 140 years of public science there is no solid evidence that can suggest they have been effective. To solve this problem, this paper will apply and will address the concept of calling to audience by public scientific texts, as a process through which the producers of public scientific contents form the linguistic structure of their messages. This concept originates from a theoretical synthesis of two theories as follows: actor-network theory and theory of interactive science. Such concept consists of seven properties that can contribute to its explanatory merits as well as to operationalize measuring effectiveness. The significance of such conceptualization lies in its applicability in providing hard evidence through this research that can support solutions for effective communication when scientific contents are concerned. This is because such materials should reach the general public for consumption in everyday use.

The present study was conducted with the aim of identifying the application style of the national media (TV) by the elderly in Isfahan. Compared to other provinces, Isfahan is one of the six provinces with a higher share of the elderly population and identifying the desires, needs, and interests of the elderly in relation to national media is essential. This study was conducted to identify the thoughts, tendencies, interests, and content and time preferences, needs, and expectations regarding the provincial TV network using a semi-structured interview technique in the statistical population of elderly residents of Isfahan during the years 2010-2011.The results of the study showed that the Isfahan network has a diverse range of elderly audiences: selective, ceremonial, utilitarian, observer, participatory and non-participatory, involved and non-involved, analytical and resistant. These audiences watch television with various goals, including increasing information, learning skills, having fun, escaping from life's problems, and filling their free time. The results of the study indicate that films, various types of competitions, TV series, news, and lectures in the serious program group are of interest to the elderly audience. Also, informing the elderly news of the province, helping to improve the lifestyle, helping to strengthen the spirit, and improving the culture of behavior with the elderly are among the expectations of the Isfahan elderly audience from the provincial network.