As he says his love for music and theater stems from his passionate interest in the individuality of beings and irresistible attractions of reality. In existential philosophy he opens the hope path to human beings challenges the man and his situation in his dramas and searches a way for developing his thought in music. His mode of thinking is concrete and objective, and so conforms totally to the theater’s essence as a fully tangible art. 

Marcel’s plays do not provide answers but they do suggest paths of light for reflection whereby we might discover an authentic response to the challenge of the dramatic situation. Indeed, after the curtain falls spectators reflect on the questions raised not only in relation to the characters in the play but in relation to their own lives as well. It can even be said that reading his dramas provides a better ground to understanding his philosophic concepts. Introducing his works seems necessary as none of his dramas has been translated into Persian yet. While presenting his dramas this article is an inquiry about how Marcel’s philosophic terms are reflected in the themes of his dramatic works. Some of these terms include: death, presence, faith, creative fidelity, mystery and hope.