During the period between the two wars, although some theatre critics were considering the work of the producer more important than the drama text, a few dramatic writers created some poetical plays which derived all their power and influence from accurate poetical texts.Jean Giraudoux occupied an important place amongst masterpieces and his works brought him universal reputation.The fact that a very large public praised his dramatic works in spite of the different levels of their knowledge and the ambiguity of his ideas and intentions raises an important question: What do we expect from a drama? The question is to know if someone who reads or watches a play has to understand clearly all the author's ideas and intentions.This article attempts to answer this important question as far as possible with an analytical look on Giraudoux's most famous play, Intermezzo and also would consider his ideas and those of the critics who have written about his work.

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.

The author attempts to view the Greek tragedy as a literal- dramatic genre and a kind of work which its creation prepared during particular social-political conditions in Athens 5th century B. C. Tragedy as one of the Greek dramatic genres had importance more than merely a dramatic performance. This was exactly due to the Athenian democracy which governing manner, but rather to its cultural aspect. So, the article examines the Athenian democracy as a cultural phenomenon which differs from democracy as a form of government.

Most of the researches about the role of The Myth in Creation of Theatre, have Focused on Ancient Greece and Golden age of Theatre (5 B.C); While one may find some Very different rich types of the relation between Myth and Theatre in a Country with a very Old history of theatre Like India.The main achievement of recent article is to realize how Mythical belief has been influential to build dramatic arts in India. Static culture of India and its Protraction into the contemporary periods, makes a Possibility to focus on some alive rituals in India which come from Mythical Stories.As The result, concerning to the type of Myths-humanly, super Natural, with or without story-several models of relation between theatre and myth may be found.Writing this article, the author has made use of being in India for three mouths as a researcher and also of referring to some books which most of them has been written by Indian Authors.

One of the most important. aspects of drama and definitely drama translation is that it should be performable. In order to preserve the perform ability, the communicative function of linguistic forms should be recognized and conveyed by the translator.As noticed by some translation scholars (e.g. Snell-Hornby [1988] and Hatim [1998]), speech acts have a vital role in this process. Translators may employ different strategies to overcome difficulties in translating speech acts.Knowledge of difficulties of drama translation, speech acts (especially their different linguistic forms in different languages) and the different strategies of translating speech acts can help translators fulfill their duty as communicators.Studying speech acts as linguistic tools which can contribute to the production of better translations and recognition of the strategies adopted by translators in treating speech acts may pave the way for further researches on this neglected genre and may contribute to producing more adequate translations. This research, which was based on parallel and a comparable corpora, intended to present a classification of the linguistic forms representing the most Frequently-used speech acts in Persian dramas by analyzing randomly-selected pages of authentic Persian.

Enjoying theatrical uniqueness and autonomy, radio drama is a renowned and recognized kind of drama. Meanwhile, dramatic space in radio plays is a critical, important issue to be focused on. Using methods and vehicles provided by semiotics, this study tries to analyze various aspects of “ creation of space” in radio drama, showing how fundamental information could be presented in order to gradually establish the space of the drama. To this end, first space-creating parameters in radio drama are recognized with their functions in space-creating, using textual analysis based on “ stratificational semiotics” . stratificational semiotics is analytical perspective to the text which was presented by Farzan Sojoodi. This theory, proposed in the author’ s book, Applied Semiotics (Sojoodi 2003). Stratificational semiotics, has been proposed first, as a hypothesis, and after being examined and evaluated in research and various studies, , gradually distinguished its position as a scientific theory in discussions of semiotics, and now, stratificational semiotics, is accepted as a scientific theory and considered as the theoretical foundations of numerous theses, books and scientific articles. It seems that giving a very brief account of this approach is inevitable, in the frame of stratificational semiotics, the text is composed of several layers that some of them may be considered more important than the others, But the implications of the text are affecting all layers. “ Meaning” is an outcome of the interaction between all text layers, sub-layers, prior knowledge and codes. This study attempts to rely on the theoretical foundations of stratificational semiotics, to analyze four elements in radio drama-speech, music, sound effect and meaningful silence-as the space builder layers in radio drama. so that, each of these factors produce a “ text layer” and therefore promote their functions and roles in the creation of space. So, we have four layer which include: layer of speech, layer of music, layer of sound effect, layer of silence, and, there is a syntagmatic relations or associations between them. These layers interact with each other, influence each other and finally make the overall space of the play. The effective space-creating leads to mental imagery and producing meaning to the audience of radio drama. The space in this article not only means where the theatre takes place, but it refers to the dominant spirit of the drama’ s world. Space-creating in radio drama occurs in two stages: one, when the author writing the play, and reflected his mind in the drama, and the other, during the recording of the play, that, at this stage, the director is responsible of creation of space. In this paper Space-creating in its first stage, the writing of the script, is desired. Finally, the study intends to show how to create the Comprehensive space of the drama while introducing place, time, action, characters location as well as moods such as warmth, coldness, heaviness, disappointment, happiness, fear, love, sorrow, hesitation, mystery, and etc. through intensifying interaction between different textual layers constructing mood.

To evaluate the effects of different treatments on seed dormancy breaking of Notobasis, two separate experiments were conducted at Agricultural Sciences and Natural Resources University of Khuzestan, in 2017 with three replications. The first experiment included nine physical, mechanical and chemical treatments (control, surface scarification, intense scarification, one and two weeks of chilling at 4°C, soaking into hot water for two hours without scarification , soaking in 25°C distilled water for two hours with scarification  and acid treatment for six and 12 minutes) based on completely randomized designs (CRD). The Second experiment was hormone priming arranged as a factorial experiment based on completely randomized design with gibberellin concentrations (0, 200, 400, 600, 800 and 1000 ppm) and priming duration (12 and 24 hour) as the treatments. The highest seed germination (40%) obtained from 12 minutes of acid treatment. Results showed that seed germination reached to 100% after priming seeds with GA3 concentrations for 12 hours. However, increase the priming durations to 24 hours, significantly declined seed germination to 47% in 200 and 400 ppm of GA3 concentrations. The Increase of GA3 concentrations in 12 hours led to a linear reduction of T50 from 31 hours in 200 ppm to 19 hours in 1000 ppm). In 24 hours of priming treatment, T50 followed a Gaussian function and the highest T50 (92 hours) was obtained from 600 ppm. It is recommended to immerse the seeds for 12 minutes in sulfuric acid and prime with 400 ppm GA3 acid for 12 hours to break dormancy and increase the vigor index.

Literature or symbolism school is a major school of contemporary literature. Changes in social systems, political, governmental, ideological transformations writers and communities, influence the reader, forcing the reader to meditate on the meaning concept have caused such writers and playwrights have been to this school, it was intentional writers, including playwrights to this school. Ali Uqlah Arsan contemporary dramatist Syrians affected by the school dramas including "al-Shaikh wa al-Tariq" (the old man and way) wrote. The drama, which represent the social problems and proposed solutions was the author, contains some symbols, such as "through" (way) that we have on this research seek to decode it. In this drama, Gasser seeks way out of poverty in society. Along the way, he will be faced with different people; each symbol is one of the author's intellectual approaches. Gasser at the end of the track to the conclusion that the only way to end poverty and social injustice victory of the revolution that be achieved in collaboration with of all segments society and unity, decoding the symbol in this study has been made relying on psychological and aesthetic style of literary criticism.