In a number of plays by Mohammad Yaghoubi, discussed in this article, he tries to display a kind of awareness leap in a series of human and social relationships through his signature dramatic elements. These leaps in social relations are also in line with parallel historical leaps traceable in all his dramatic elements. For instance, in The Winter 66 the historical leap arises from war conditions: conditions that cause uncertainties about the death and life of characters. These uncertainties do not just emanate from offenses suffered outside the characters’ household, but also affected by their domestic uncertainties. Yaghoubi depicts these internal disruptions in connection with external disruptions in a variety of forms. For example, with successive wobbles that is brought upon the fervent atmosphere of the household, or interrupted, recurring dialogues or with parallel narratives crossing each other from point to point.
The theories adopted here are taken from concepts such as the configuration of knowledge or episteme, archaeology, genealogy, discourse, power and resistance, offered by Michel Foucault, the French philosopher, historiologist and semiotician. The questions raised in this study are first, why Yaghoubi depicts awareness leaps in the everyday lives of the characters’ social, historical context? Second, how Yaghoubi depicts the awareness leaps in the various elements of his plays? The purpose of this study is to reflect on the relation between drama, history, society, and politics based on a well-known theory. On this basis, the selected Yaghoubi works studied here are Drought and Lies, The Only Possible Way, One Minute of Silence, and The Winter 66.