war - page 2

As other types of play writing, play writing in the field of war or resistance can be studied from different points of views. In this respect, we can refer to different points of views such as sociology, psychology, home and family, characterization, dialogue writing, subject, plot, structure, presence of different character and types of people as well as point of view of self sacrifice, martyrdom and resistance. While writing plays for war theatre or resistance theatre, concepts such as self sacrifice, martyrdom and resistance are special concepts. These concepts have always been noticed by play writers. These concepts have some times appeared in special outstanding form that rarely observed in other types of play writing. And when speaking about a war under the name of “Sacred Defense”?, it is natural that such concepts benefit from more out standing aspects.

Paradox is the main element of dramatic works. And we need two powers opposite each other in order to form any play; the two powers that one of which intends to change the current situation and the other one intends to keep the current situation. Therefore, all of the elements of the play and other elements are influenced by the intention of these two powers. And they develop parallel with these powers. We can observe “Clash”? in other narrative forms too. These other forms of narrative forms are namely myth, legend, story, old story, narrative movie, etc. all of these mentioned narrative forms find identity by getting help from clash and fighting. They change into an attractive possibility for following up an idea and target which is pre-identified by the writer. And they finally achieve a form of development and result. We can find one of the most beautiful forms of paradox in the sentence said by Hazrat Imam Ali [The first imam of the Shiite people] that was written at the beginning of the article. War is one of the outstanding appearances of paradox and clash. What ever the motivation of war is, it benefits from two opposing powers.

In this article it is tried to offer some definitions of the war from the social studies and from a dramatic point of view the role of the family in the creation of the play is discussed. At first we will deal with the investigation of the relationship of the families especially in the Iranian society at the time of the imposed war that was the context through which these plays have been created. In what follows the reflection of the family in the Ù?Sacred defense war plays such as 31 / 6 / 77, three parts of the pure life of a polite and beautiful young man, murmurs behind the front lines written by Ali Reza Naderi, Zemestan 66 by Mohammad Yagoobi, Nahre Firooz Abad ( First Part : Special care taking ) written by Mohammad Rahmanian, Asmaeeb and Dahani Por az Kalagh written by Jamshid Khanian have been investigated. In the end the Iranian plays mentioned above will be comparatively investigated with a foreign successful example, “All My Sons”? by Arthur Miller, the American writer.

of “Tadoj Cosan’s”? categorization each of which has a very important and effective role in the production of meaning. Among these signs, the terms or in other words the written text of the dramatic event – the only thing that remains as reminiscence in a written form – is a basic element in the ideas of many of the scholars. Even though, the study and investigation of the semiotics of the signs seems to be more attractive in performance domain due to the more completed form of any theatrical form. But the special study of the written text and discussion over the system of signs of the words and terms is of great importance because this part of the sign systems has got the highest and the most important role in the production of meaning. Any text of the dramatic event has got in them many elements that create meaning which are in turn related with a system of signs that is directly related to a sign system. Some others are by inference and intimation in the service of the other sign systems.