Adaptations are woven in the fabric of our everyday life. Lots of fictions and nonfictions are based on other works. Although adaptation theory has faced disagreements among critics, many works are still written and adapted for cinema, stage drama, video games, and …. Film industry-- one of the most powerful means in reflecting and shaping lifestyle-- plays a great role in introducing and advertising adaptations. Many films employ previous art works in their settings, plotlines, characterizations, and themes, or are directly adaptations of particular literary works. Making new production out of previous works not only adds to the prestigious quality of that film, but also advertises the adapted work. The marketability of adaptations and reputation of some texts (be it written or visual) leads Iranian movie industry to invoke foreign movies, plays, and literary works. One of the recent Iranian films is Stranger [Biganeh] (2014) directed by Bahram Tavakoli, loosely based on Tennessee Williams’s A Streetcar Named Desire (1947). This paper tries to answer such questions as: Why has this play been adapted in Iran’s cinema? To what extent is the film considered as the new production of the original play? Can this adaptation claim to be a successful recontextualization of the play? Introducing a brief history of adaptation in Iran, this paper utilizes Hutcheon’s adaptation theory to analyze Stranger as a process and a product in Iranian context.

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