Adaptation and converting stories into plays

The practice of replication and adaptation has always existed in the field of the humanities and what needs to be examined here is the enormous amount of adaptations in this area. This article mainly deals with the use of elements that literature has generously proposed to theatre and plays although methods and approaches could be fundamentally different from one case to another. At first we need to analyze the definition of adaptation.
Adaptation has been defined as follows in the Moeen Dictionary: obtaining, learning, altering and quoting a saying without refereeing to its original source.  In this general and flexible description all different methods have been recognized as adoption. Webster has a comprehensible and concise description adaptation. Oxford also gives its own definition in which is the state or process of changing to suit a play or film that is based on a novel and the primary source could be a book, speech, screenplay that one might reproduce because it is interesting or useful.
Consequently the clear definition of the words adaption and quotation contains a huge explanation which simply means a film, book, play, etc that has been made from another film, book, play, etc. Americana suggests a more interesting classification of the term which is a physical or behavioral trait that helps a plant or animal survive in its habitat.
In order to simply the work we develop our own meaning of adaptation which is purely the process of changing to suit different conditions. However as mentioned earlier the scope of the term could be broadened to include other things as well. So it’s a good idea to limit ourselves to the field of literacy and simply characterize it as a film or television programs that is based on a book or play.
Adaptation in the field of literature could be from a novel or a new play. In this version of adaptation there is a lot of common elements among the story and the text which the play is based on. As a result of that moving from one structure to another would be a straightforward undertaking.
As mentioned previously adaptation covers a huge area in both the cinema and performing arts, as a result of that it is likely to expand the interpretation. In this case we confine ourselves to investigate that approaches and hypothesis employed in major works of literature on theatre.
Adaptation from literature for other forms of arts
Literature and novels differ greatly from the text compiled for performing arts in terms of expressing events, however the share many common elements with each other. Works of the cinema and drama are frequently based on novels of any kind though directors have had the ability to integrate them well with a different atmosphere and resulted in a great correlation with their audience.  
One major fact which needs to be considered in the way the work of art has been adapted and the style of writing and attitude used in the process. Even in some cases the new product might differ greatly from the original source and a new article would be created. For instance Daw Dumont wrote a screenplay by the name of the judgment of love which was perforemed in Graoundswell. It was simply an adaptation of a Shakespeare’s play Midsummer Night's Dream. However it was not a playwright that a Shakespearean would accept or approve of. Another case is the movie My own private Idaho which shows no sign of Shakespeare, unless you analyze the whole movie and by knowledge all of a sudden the viewer finds out that in fact the movie is based on the story Henry IV, King, despite of the fact that it has nothing to do with the actual play.
On the other hand the adaptation might be royal to its foundation and the new work represents the same concept yet in a new form and media. When we view the movie Death and the Maiden by Roman Polanski many scenes are comparable with what Ariel Dorfman directed on the stage. However another movie is also based on this play from the Iranian director Bizhan Mir Bagheri which has considerable dissimilarities with the original text. As a result these two imperative elements in the process of adaptation could be different mediums and we might even spot some cases that go beyond the main topic and use the original work as a main source for inspiration, even sometimes a new work of art might be created which has no connection with the book.
Another important aspect of it could be faithfulness to the source. In the process of revision a huge amount is on average altered and distorted. And if this occurs in a society in which culture, tradition and norms differ greatly the adjustments and changes could be even more fundamental.
For instance the adaptation from the novel Crime and Punishment of the prominent Russian author Fyodor Dostoevsky we could easily see the effects of the environment in which the write grew. As a result what he created would be primarily dissimilar to what a person born in Iran would create.
Consequently some factors are to be considered in this practice and they should be classified according to structure and content. The quality of adaptation and its kind (film, stage, book) would greatly affect the produced work. Adaptation should remain loyal and hold some of the noteworthy elements of the original work. Interpretation of the theme and subject could be changed during the course of development and yet the explanation and clarification would remain the same.
Therefore once scrutinizing drama both the structure and context are to be considered and analyzed, doing so could offer a great principle to playwright to find some common ground to work with. However in the field of context and content the process of examination is somehow more complex, composite and follows the writer’s train of thought. The overall result of this evaluation assists us to find practical answers that facilitate the process of adaptation in the field of drama and literature.