In the beginning of a play, when a character is given a motive to achieve an aim, he or she starts to act and struggle to accomplish his or her mission. At the denouement, the character succeeds or fails. In everyday life, a man always is in a particular circumstance. Likewise, a character in a play is in his or her own given circumstance. All of them are seeking their own meaning in a particular circumstance and taking a subsequent action by interpreting and judging of the meaning. Although a man outside stages experiences a distressing incident, if he returns to everyday life, it is hard to be called `the dramatic`, On the contrary, even though a performer` s slight confusion of reason and emotion does not change him, the gradually accumulating process of changes can be called `the dramatic`. `The dramatic` is a change. Even if the process of a play is either developmental or regressive, the point is change. But all the changes are not dramatic. The change of `the dramatic` involves external and internal qualities. The former is a change of tempo and rhythm that are revealed by body of a character. This change develops to action and shows itself by a change of tempo and rhythm of circumstance originated by action. The latter involves a character`s inner discovery and perception of something new, expansion and deepening of recognition, insight into human nature and existence. `The dramatic` is completed by communication with audience. A receiver also will subjectively experience authenticity of `the dramatic`, when his or her spirit is enhanced by reflective speculation about existential meaning and identity, various stages of life, society and world through the medium of a play.