جستجوی مقالات مرتبط با کلیدواژه « s play » در نشریات گروه « هنر و معماری »

The present article, which is written in a qualitative and descriptiveanalytical method; It tries to critically analyze hopelessness and despair from the perspective of Marcel’s philosophy of hope in one of Saedi’s plays. Despair and hopelessness are among the concepts that can be seen in the works of some Iranian writers after the collision between Iran and the modern civilization. Therefore, Gholamhossein Saedi has written plays centered on the average urban society of Iran and has displayed the layers of despair in the life of the Iranian society of his time. On the other hand, Gabriel Marcel; The Christian philosopher and French dramatist, faced with the despair caused by the world wars and the collapse of philosophical systems, defined the possibilities of his philosophy of hope to overcome the despair and hopelessness which were as result of the events of the first half of the 20th century, to achieve human excellence in a concrete way. Now, the main question of this research is how to criticize and investigate the components of despair and hopelessness in the play Root of misery by Gholam Hossein Saedi, relying on Gabriel Marcel’s philosophy of hope, And how, relying on concepts such as the dialectic of hope, the metaphysics of hope, and absolute hope, can we analyze the components of despair in the play Root of misery? Also, in this essay, it is discussed how to provide a solution for excellence and hope in the characters of the play, relying on Marcel’s philosophy of hope.

This research aims to investigate the method of adaptation in several children's and teenagers' plays which were written by adapting religious texts and published in the 80s and 90s. In this research, five plays were selected from prominent writers in the field of children and adolescents, which are: "Dawood's Song" by "Manochehar Akbarlou", "Animal Wrestling" by "Dawood Kianian", "Do Good and Be with God" by "Hasan Dolatabadi", "For Pearls" by "Hossein Fadaei Hossein" and "Saving the Deer" by "Amir Mashhadi Abbas".Then, by studying and explaining the adaptation theory of Linda Seger, we extracted a model from it to analayze a adapted text from a dramatic point of view, and then we tried to use it to analyze the selected plays in order to understand the strengths, shortcomings, inadequacies and gaps of selected playsThis research is practical in terms of purpose and the theoretical studies of this research have been collected in a library form through articles, books, magazines and reliable websites.Finally, with the conducted investigations, it can be concluded that in these five plays, which were among the prominent works of children and teenagers with the approach of adapting religious texts, the main weakness is in creating the story and advancing the axis of direction, and in most of them, the goal of the main character It is not dramatically strong and lacks tension, rising stakes, and a turning point.

Achieving sustainability goals is one of the most important approaches to achieving an ideal city, which has been a priority for designers and urban planners. The city and its urban spaces must be able to meet the demands and needs of their users today and tomorrow. Focusing on the child as a link between the present and the future of a city is a step towards sustainable development. Outdoor features have a direct impact on the formation of the child's personality.One of the important factors during the child's development process is her/his constructive interaction with her/his environment, which today is one of the next design priorities due to various urban concerns and issues. Therefore, preparing the urban space for the presence of the child is considered important in promoting her/his creativity and personality development. The aim of this study is to review the experiences of sustainable open spaces according to the needs of children.The research method is applied in terms of purpose. By library studies and content analysis of texts, the theoretical framework of the research, including the principles and qualities of sustainable outdoor space by components of sustainable location(environmental,experimental-aesthetic and functional components)was formed, then by choosing the most popular successful parks and open spaces in the world, with a qualitative method and descriptive analysis, sustainability criteria were examined and extracted in each of them so that it could be a way to design a sustainable open space tailored to the child's needs.Finally,sustainable design criteria include»observance of climatic considerations of open spaces, contact with nature,observance of visual considerations and blocking and massing system,safety and security,landscaping and urban furniture,attention to the confinement and transverse sections of spaces,observance of hierarchy Access,spatial zoning and invitation to the child's participation in group work and teaching the elements of child play«is introduced.

This essay trys to explain the role of “Young Iran’s Association” in cultural and social reformation of late Ghajars era and also Hasan Moghadam activities in this association that leads to the create and performing the play of “Jafar Khan has come from Europe”. After Constitutional Revolution and in line with modernism, so many associations and constitutions had been formed which their main goal was modern changes and reformations in Iran. In 1981 (1300 solar year) an association which called “Sorushe Danesh” had formed in Iran which its name later had been changed to “Young Iran”. This association included educated people and those with thoughts who believed that could reach to their goals usually in line with cultural and art and newspaper activities, and published their policies in a creed. Performing theater plays, publishing newspapers and articles, and also holding different conferences were their main activities. Attention to women’s rights and possibility of their education was among their viewpoints in a way that the association members knew it as one of their most important goals. Tehran’s and other Iranian cities destructions, severe class differences, poverty and adversity of people and workers and the lack of sufficient facilities for children and young adolescents’ education, had been mentioned as an important and serious concerns for Young Iran’s Association. On one hand people’s traditional culture and on the other hand criticizing the imitation of West culture, had turned to an essence for creating “Jafar Khan has come from Europe” play by Hasan Moghadam and Young Iran’s Association had performed this play in the hall of Tehran’s Grand Hotel. This performance had been welcomed strongly by the people and made this association and Hasan Mohadam more known and famous than ever and credited it as Tehran’s important open minded people association.The effects of that association in line with its chosen goals with holding seminars with upto- date subjects ,publishing articles and newspapers, performing successful plays such as ”Jafar Khan had came from Farang” that its name circulated among people and had received a very great criticism from valid press in those days ;had influenced on the society toward modernism; and not only had been attracted the open-minded and political people but also had been settled its place among the populace and could win them over itself.

Various forms of Iranian drama throughout history and over time in the form of various genres emerged from the heart of rituals mourning and joyous ceremonies. In the meantime, the role of improvisation as one of the most important methods of performing Iranian happy plays, and especially Siah-bazi plays is undeniable. On the other hand, extracting the principles and rules of improvisation in various forms of joyful Iranian plays based on new theatrical methods, achievements and methods is one of the necessities of our play today. The main purpose of this study is to study various methods, and techniques of improvisation in the production process of Iranian joyful plays, especially Siah-bazi plays. This research has been compiled in a descriptive-analytical method and library and internet resources have been used to complete the basic information in this article; The main hypothesis in this study is that the study of various improvisation techniques and methods in various forms of Iranian cheerful performances, especially Siah-bazi plays, can increase the awareness, understanding and knowledge of “actors or performers” of improvisational performance capacities in this type of play. It also tries to answer the questions of what improvisation means and what are the different methods of dramatic improvisation? And how and in what process is improvisation used in Iranian joyful plays? And how and through what process do different improvisation methods and techniques manifest themselves in Siah-bazi plays? In conclusion, while defining improvisation and examining its different levels, methods and techniques, as well as introducing and explaining the structure of black play, improvisation methods in different forms of Iranian drama and Siah-bazi plays have been studied and it specified that learning and being Familiar to the some techniques and skills such as “actors’ experience in the process of improvisation”, “Expanding situations in the improvisation process”, “Performers’ relationship and their interaction with each other in the improvisation process”, “Group trust in the improvisation process”, “Verbal action in the process of improvisation” and “Non-verbal action in the process of improvisation” can increase the actors’ knowledge of the improvisational capacity of improvisation in various forms of Iranian juyful play, and specifically Siah-bazi play.

Nowadays, in order to increase the quality of the place of residence, recognition of the characteristics of children as an important member of the community is necessary and considering the impact of nature on the child and the creation of the grounds for the game and, as a result of their growth, the importance of utilizing nature in housing. Do not by studying the works of traditional Iranian architecture in different parts of the country, the presence of nature in all levels of life is palpable, but this has become diminished in contemporary housing. Therefore, because of their sensitivity, children are more aware of the negative effects of this loss and make it for generations. Future ones also inherit. The present study seeks to provide a new definition and quality of housing by looking at the nature, the child and their link to housing. Because children spend long hours in housing, the purpose of this study is to evaluate the integration of housing and the nature and consequences of this relationship on children. The research method in this research is descriptive-analytical and correlation and the information is evaluated qualitatively. In order to achieve the goals, a questionnaire for assessing the types of children''s games (physical, language, exploration, building, imagination and group), in housing that needs their growth, and completed by their parents, another questionnaire, based on different elements of nature, the design of a housing was defined and analyzed with a series of questions. In this questionnaire, a five-point Likert scale was used and using Spearman satisfaction correlation, the relationship between variables was determined and Cochran formula was used to determine the sample size. Also, the amount of play with digital devices, sensuality, security and joy of children was also studied. Four regions of Tehran were selected as samples. After examining the form, structure, function, space, decorations, colors and materials as elements that can be designed from nature and are present in the housing, were known. Findings show that there is a relationship between the elements mentioned and the children''s play, and the role of space and materials in keeping with nature is important because of the creation of an environment and the desirable space for more types of games. Also, overall games that help children in open and semi-open spaces increase the security of housing. The higher the number of children''s games, the greater the child''s happiness and the sense of belonging to their place of life, and the game with the computer and virtual games is reduced. Form and structure are two elements that in the studied samples have the least average and effect of nature. According to the studies, it is concluded that the form and structure are less important in the use of housing, and because of the high buildup of housing, forms and repetitive structures are used. Special form and structure related to nature are more important in important urban buildings and are used for urban symbolism buildings because of the special characteristics of this form and structure. Therefore, the form and structure should be used according to the use of housing such as climates, topography, natural proportions and more.

The display in Persian is a translation of theater in which actors are placed instead of the characters of the story. It is well known that the art of drama, due to the use of several arts, is called the mother of arts. the need to familiarize children with this art, as one It offers indirect ways of developing self-esteem, creativity, expression and activation of the mind. Knowing the fact that children are always the fan of theater (either spectators or actors), not only children are not unfamiliar with theater, but they themselves are the beginners of the show through the imitation. Surely investing in long-term programs for children who are future developers and keepers of human civilization will not be in vain because the more children qualitatively grow, the more society will be civilized . One of the most prominent psychologists in the field of learning is Albert Bandura, who has been caught the attentions to his cognitive-social learning theory in recent years. The present research tries to inspire the view that drama is an effective facility for teaching and learning of the child because not only satisfies his/her psychological needs but creates moments of joy for him/her. Moreover, each message and theme in the format of the show for children is feasible, providing a model for the use of dramatists in the field of writing for children based on the theory of Albert Bandura. For this purpose, after suggesting theoretical issues and examining the use of contemporary children playwright from Bandura’s perspective, a suggested model is presented.

This article deals with the encounter of “self” and “the “other” in the Iranian characters of the play Ja’far Khan is back from Europe by Hassan Moghaddam. This play is one of the most important plays of the early 20th century in Iran, and expresses the generation gap and the cultural differences between a very traditional Iranian family and their young son (Ja’far khan), who has recently come back to Iran after finishing his higher educations in Europe. The members of Ja’far khan’s family have made so many arrangements for the newcomer, and are extremely shocked to find out that Ja’far khan has totally changed to a person with European life style, and does not care about the Iranian traditions at all. His type of dressing, together with his ideology about abstaining from superstitions, are all quite new and unacceptable to his family. It is held in this article that the “self” and the “other” are among the most important “subject”s of the modern Iranian literature, which holds a bilateral relationship. This relationship creates an atmosphere in which the social and communicative forms are recreated  as the sew “self” and “other” relations, and face each other in different arenas, of which the current play is an example. In other words, what this article focuses on, is the method of the arrangement of the characters of this play, according to some basic concepts such as language, dress and clothing, and the metaphoric and semiotic system of “self” and the “other”, which leads to the manifestation of the characters, and their different features. The ideologies of the characters of this play are studied with an analytic approach, and their discourse will be the major source of concern. Here, by discourse, we refer to the social approaches of each historical period during which the Iranian “self” and the experience of “the other” is created in this Iranian play. The results of the research show that the characters act as a type of subjectivity, and reveal their “self” characters when they face the “other”s. In the play Ja’far khan is back from Europe, the characters of the house act as “self”, and Ja’far khan acts as the “other”. As a matter of fact, the “self” people gradually turn Ja’far khan to an “other”, and this takes place as a result of the specific discourse which is a result of the social patterns of Iran in the time this play was composed. In this play, all the members of the family arrange their powers in a way that the person who used to belong to that house turns out to be an “other”. They first try to make this other similar to their own selves, and fail to compromise with Ja’far khan. Then they try to make themselves similar with that “other”, and they get no result other than surprise, carelessness, or anger, but they finally fail to make Ja’far khan the person he used to be before his dispatch to Europe for his studies.

(Alexander fojcko, Mohammad Hasan Rajaei zofrei, Hasan Salehi Rad) Ta’zia means mourning and bereavement and helding a memorial session for dear dead one but expressively it refers to a sort of religious play with special traditional traditions. Usually in Tazie traditional play, there are different versions of a session disperses all over the country. The research writers examine ta’zia for Imam Hossein(peace upon him) in descriptional-analytical method and based on three versions of fojcko, Rajaei zofrei and Salehi Rad,It belongs to the fields and historical periods. With regard to the subject importance(Imam Hossein martyrdom and it’s reflection in most of simulation-reading versions) The three parliamentary committees examined the proposed methods in comparative studies, and eventually it was concluded to them that there were twenty-four common events in these versions, of which thirteen were in three versions and eleven in Two copies of the ta’zieh meetings take place. Similarly, 37 uncommon events can be mentioned that occur as dispersed and shows each version distinctively.

In this article, the question is about in what forms an Iranian character encounter - Consciously or unconsciously- with “self” and “other”, in the play “ Ja’far Khan az farang bargashteh” by “Hassan Mohaghdam”? The “self” and “other” are metaphors which refer to the most important subject of modern Iranian literature. This relation involves a relationship. The relationship which creates a space so that social and communicative forms could appear and be reproduced as social characters as well as their different kinds of encounters – “self” and the “other”. Here, the focus is on concepts such as language and outfit as well as the metaphorical and semiotic system of “self” and “other”. This system will be examined within the interaction of characters and constitute the above discourse. Here by discourse, I mean a certain attitude and point of view in any historical period by which the Iranian “self” tends to experience something and it is the “other’s” experience constituted in the play. In this article, I attempt to show how the characters in the play as a kind of subjectivity and “self”, stand against subjectivity of “other”.

The purpose of this paper (myths Anahita to ritual performance play of Geli Geli in Boushehr province) is to introduce the history of myth, ritual play and dramma in Theoretical basis of research and recalling the status of myth of Anahita in two contexts of ancient Persia (Avesta and legacy of Zarirran) in second part of research, it is going to analyze this lmmortal myth , formation of ritusl plays by using this myth , comparing the similatities of that myth with ritual play of Geli Geli in Boushehr province. This study according to this definition considering to basic hypothesis , first of all is that how this ritual play used of an ancient myth of persia and how it has remained in bousher province up to now. Another matter is considering how the executive aspect of both above mentioned categories (ritual plays and dramma) can be appropriate field and dramatic view of theater in the region today. Through this research, it was found that the diversity of each region myths and ritual archetypes of Iran are suitable sources for drammatic plays in each region .this research follows a descriptive analytic mehod and uses library research approach and researcher observation for gathering data and to categorize information.

One of the important ways based on which dramatic discourses put semantic uncertainty at the top of their agenda is passing from a positive situation towards a negative situation. In this case, a discourses progresses towards a non-discourse. Non-discourse can provide a context for fluidity of the form-content relationship. In some cases, this fluidity can be created in a concrete and objective manner in the discourse, and in other cases, this objectivity is attenuated and reinforced from time to time. How, given the meaning deficiency, reduced cognitive aspect, negation of its existence system, linguistic insecurity, and increased tension process in a discourse context, can discourses become a place for discourse challenge, and as a result, a place for passing from a stable discourse situation towards an unstable discourse situation? In fact, discourse fluidity, is not only among the factors which attenuate the function of stable discourse, but also, by injection of negative situations, it would direct a discourse into a non-discourse. Relaying on play including Oleanna, the main objective of the present research is to demonstrate how a positive discourse moves towards a negative discourse, and eventually ends in a non-discourse. Undoubtedly, due to the fact that play discourses can find a way to a scene and can be performed, they are appropriate examples to investigate the conditions for discourse development and transition to a non-discourse aspect of the relationship.

Amongst all traditional puppet shows of the whole world, the Iranian puppet show “Pahlevan Kachal” and the Turkish play Karagöz are two samples that have various similarities, in spite of their significant differences, the most obvious one is their techniques. Pahlevan Kachal is a hand puppet, while Karagöz is a shadow play. The current article takes an analytical approach, based on the French school of comparative literature to study the structure of two plays also through the character analysis finds the bases of Pahlevan Kachal and Karagöz’s popularity in the origins of their societies and compares them with each other. Both characters are born and lived in the context of the mass society up to this moment, and both try to find a way to the future. So according to their numerous resemblances, it is possible to discover common cultural roots in the Iranian and Turkish audiences. Pahlevan Kachal and Karagöz are two national heroes who both develop religious-moral, political-critical, and cultural-social teachings in addition to their behavioral and outward similarities. They are aware that irony, either in speech, face appearance or in music, and eventually in creation of happy atmosphere is the method to use for building a connection with the audiences. The methodology used is a mixture of descriptive and analytical methods, and is benefited by library and internet research, in addition to the personal experience of the author regarding a number of “Pahlevan Kachal” shows through several years and attending various Karagöz plays which both add an experimental method to the two other methodologies. In the end, the research studies the contemporary audiences of the shows in order to suggest an evolution for their future, since both plays are in a similar state of disregard and eventually “failing to remember” by the audiences.

Unnatural narrative entered the field of narratological studies since the early years of the current century, being theorized and classified by narratologists like Jan Alber and Brian Richardson. Unnatural narratology, unlike natural narratology, focuses on non-realistic and anti-mimetic narrative elements and attempts to provide a more comprehensive pattern for the study of those narratives that do not obey the arbitrary patterns of representation. In other words, they do not recreate the world as it is perceived on the basis of common sense experience. Since the 1380s, Persian playwrights have indicated a growing interest in the reflection of unnatural elements in their works. They represent elements such as time, space, character, and narrator differently from real-world experience and in the structure of their narrative they present what is physically and/or logically impossible. The present study is a descriptive-analytical exploration of the strategies used by Persian well known playwrights like Samini, Charmshir, and Amjad in the 1380s to transgress the realistic borders and to represent mental territories. These strategies challenge the readers’ expectations of the familiarized structure of the world and provide them with different ways of experiencing it by applying fundamental changes to the narrative elements of the work. Referring to Alber’s theories, the paper provides recommendations for reading these texts to indicate how readers attempt to understand such scenarios and expand their mental architecture to naturalize them.

This paper examines the characteristics of the turbulent 17th and 18th centuries of Japan، investigating their impacts on the Japanese dramatic literature. In particular، we examine the impact of the Tokugawa society on the dramatic literature of Japan، according to the plays Suicide of the Lovers in Sonezaki، and Kanadehon Chushingura. These two examples reveal the entrance of a typical Samurai worldview as prominent characters of the earlier centuries، who were opposing the inclusion of the current society into plays. Thus، with the help of these examples، the article describes the social conflicts of this era، and show that such dramatic works can pave the way for an introduction to understanding the Tokugawa society of the 17th and 18th centuries in Japan. And The establishment of a relationship between the suicide attempts carried out during the Tokugawa dynasty with the dramatic literature of Japan in the 17th and 18th centuries، and the creation of Japan''s most important classic plays such as Kanadehon Chushingura، Suicides of the Lovers at Sonezaki، Suicides of the Lovers at Amijima، and Suicides of the Lovers in Women’s Temple represent a serious push for the social elements. This therefore reveals a serious force that the social factors place on the culture of this period، especially on the writers of this era. These powerful forces which have risen from the social evolutions، provide good information about the formation of new era in Japan. The representative of this evolution was the empowerment of a new social level (businessmen) and the decline of another social level (the worriers). The main objective of this article is to discover the relationship between social duty and ethical commitment with a self wanted death in dramatic literature. One of the most salient impacts of the Tokugawa Shogun family on the dramatic literature is the relationship between the self-wanted death and the ethical duty which is noticeable in the dramatic texts of Japan. This means that one of the most important features of the samurai ideology has left an impressive impact on the dramatic literature. As a matter of fact، it seems that this slogan of the Samurais (Seppuku for Bushido) turned into the theme of the plays of this period، especially the series of plays on the suicide of the lovers. Therefore، if the warrior plays such as Kanadehon Chushingura are considered as the representatives of the plays with the “duty for ethics” theme، then it would be possible to consider the plays on the suicide of the lovers as the representatives of the plays with the theme of the struggle between the social obligations and the human feelings، which wind up in suicide، as they share the same theme. As a result، this article considers how Bushido and Sepuku have entered the society and lead to the emergence of the “shinju for Giri” culture in the society، and afterward in the dramatic literature.

This research implemented with the help of “Art and Creative players” group’s instructors in 8 towns of Kerman Province. As the first step the instructors of these 8 towns in Kerman became familiar with the creative play that is a training play and is planned for empowering the children. The next step was holding workshops in these 8 towns by trained instructors for training other regional instructors. Because the responsible administration could not pay the regional instructors wage for the second course of workshops, inevitably these workshops held by instructors in Kerman. Evaluating ability range of participants in the workshops in the beginning and end of the courses was the last step of this section that is implemented during one year with the population of 95 participants in workshops. Instructors investigated the influence of creative plays by 17 indicators of individual abilities using questionnaire and interview. Results evaluated by statistical analysis. The result was development of all ability; but evaluating the range of these developments shows that creative play exercises was more effective in some abilities.

Unlike the early years of 20th century، in which، most theories sought the roots of theatre in rituals، and based on this notion were busy analyzing for stage texts and on stage events، contemporary theories overview this phenomenon in relation with other performance genres such as play and their interactions. According to this fact، based-on-origin theories have lost their primary reputation، and so theatre is no more considered as an evolved performing form but just as a manner of expressing، parallel with other performance genres. On the other hand، a thorough cognition of play، its structure، the way that it is performed and its moodsare functional prerequisites for examining theatre and theatrical text in relation with this phenomenon. Regarding two facts that the concept of play can be traced from pre-Socratic philosophers to contemporary postmodern thinkers and different anthropological and sociological studies have brought forward a vast range of possibilities for understanding the world of play، the onto-phenomenological approach seems to be the most appropriate one in dealing with play world. This approach strongly depends on both conceptual and structural achievements، which not only are of great help in interpretation of conventional stage texts and events، but also provide more innovative and complicated forms such as dark play، which can be beneficial in new theatrical recognition، expression and creation. Johan Huizinga’s HumoLudens- The study of play-element in culture، has been a key source in play studies during last seventy years، and therefore we base our study on his notions. But، despite his genuine idea and significant approach، Huizinga seems to fail to present a thorough comprehension of play which can fully satisfy our demands in order to examine play and performance in relation with each other. In other words، the essential playfulness of play may be considered as the main obstacle to handing in such precise understanding. However، Huizinga’s insistence on culture’s birth in play still has its own supporters، but many outstanding reviewers have pointed to some paradoxical parts of his work and therefor depicted some concealed dimensions of play، many of them depending on the way the play is performed. We also are going to، next to reviewing a locanic introduction on the relation between play and theatre، shift our way to exploration of the concepts and structures of play by which we mean examining the notions of Huizinga and its limitations. By barrowing Huizinga’s ideas and based on them، we would find appropriate materials in order to confidently develop our exploration toward the very complicated structures، concepts، manifestations and moods of play. Anthony Scheffer’s play، Sleuth، as a typical case of manipulating plays and games in order to create theatrical text، will carefully go under study and by this we carefully take a step forward to have a comprehensive construction of play during its performance. Actually، play manifestation through performance reveals sophisticated notions of play such as frame، meta-communication and the message، complicated forms like dark play and deep play and amusing moods like flow.

The role of radio as a special medium within mass media, especially when lots of audiences are concerned, becomes more vivid and important. As a result, radio paly as one of the most successful entertaining programs among radio works, gains a specific value. In this article, the unique features of radio are discussed, and the role of language in this medim is studied. Afterwards, radio drama and its linguistic features have been analysed, and four linguistic patterns (stage directions, place diexix, speech acts, and textual cohesion) have been checked. Finally these features have been applied to the radio play Albert’s Bridge by Tom Stoppard (1969). The issues coverd in this study encompass all the major features studied in the linguistic analysis of conversation. Therefore, issues such as speech act theory and its several subcategories, as well as diexis analysis, cohesion and coherence have been considered. Speech act as the main feature of the current study revealed some very interesting results. As we know, Speech acts can be analysed on three levels: A locutionary act, the performance of an utterance: the actual utterance and its ostensible meaning, comprising phonetic, phatic and rhetic acts corresponding to the verbal, syntactic and semantic aspects of any meaningful utterance; an illocutionary act: the pragmatic ‘illocutionary force’ of the utterance, thus its intended significance as a socially valid verbal action; and in certain cases a further perlocutionary act: its actual effect, such as persuading, convincing, scaring, enlightening, inspiring, or otherwise getting someone to do or realize something, whether intended or not. There are five illocutionary speech acts which were considered in this study, which are assertives (speech acts that commit a speaker to the truth of the expressed proposition, e.g. reciting a creed), directives (speech acts that are to cause the hearer to take a particular action, e.g. requests, commands and advice), commissives (speech acts that commit a speaker to some future action, e.g. promises and oaths), expressives (speech acts that express the speaker’s attitudes and emotions towards the proposition, e.g. congratulations, excuses and thanks), and declarations (speech acts that change the reality in accord with the proposition of the declaration, e.g. baptisms, pronouncing someone guilty or pronouncing someone husband and wife). The other feature studied in this paper is the extent of cohesion and coherence of the text in radio drama. Cohesion is the grammatical and lexical relationship within a text or sentence. Cohesion can be defined as the links that hold a text together and give it meaning. It is related to the broader concept of coherence. There are two main types of cohesion: grammatical, referring to the structural content, and lexical, referring to the language content of the piece. A cohesive text is created in many different ways. On the other hand, Coherence is what makes a text semantically meaningful. It is especially dealt with in text linguistics. Coherence is achieved through syntactical features such as the use of deictic, anaphoric and cataphoric elements or a logical tense structure, as well as presuppositions and implications connected to general world knowledge. All these factors have been checked on the play Albert’s Bridge, and the results have been put forward in several tables.

Vasigh Ansari House has remained from Qajar period in Esfahan.This house is distinguished from its other contemporary monuments by vast application of wall covering,wall paper and fabrics,and the decoration of Dais,called ShahNeshin in Persian,and its adjacent room,in the west side of the house,with over 45 different designs in varied images and sizes.In this research,by analyzing the characters ' similarities based on Bishmatnit relation based on Jont 's theory, the comparative study of the images of one of Vasigh wallpapers with characters of Indonesian culture 's shadow play,Wayang,has been carried out, with the aim of answering the question of whether this fabric is a merely decorative work or retells a story.Accordingly,the story depicted on the mentioned textile has been extracted from Wayang shadow play and Arujuna 's story, from Bahagavad Gita.According to the results of this research,quantitative changes in the hypertext were figured out by summarizing the story to afew scenes,and its qualitative changes are intersemiotique,transition from word system to dramatic and then figurative systems;transmediotique,from puppet shows to illustration on the textile;transcultural,transition oftheology and literature of Vedas from India to Indonesia and its combination with Indonesian domestic art;and transvaluiotique,from South-East Asian religious values to a decorative element in Iranian architecture.