Trauma's enduring impact on individuals and its complex relationship with time are central themes explored in this paper. The study focuses on how the past, particularly traumatic past experiences, significantly shapes the present and future of individuals. Drawing on the work of scholars like Gabriele M. Schwab, Lieb, Cathy Caruth, and Lenore Terr, the paper establishes a theoretical framework for understanding trauma as an event that disrupts the flow of time and fractures the self. The study then analyzes two contemporary plays: *The Sins of the Mother*, an American play depicting the intergenerational trauma of an Irish-American family affected by alcoholism and domestic violence, and *Outside Time*, an Iraqi play exploring the lasting effects of Saddam Hussein's regime on an Iraqi woman. The plays are selected for their striking resemblance in depicting characters trapped by their traumatic pasts and employing similar dramatic techniques such as flashbacks to bridge past and present.

The paper grounds its analysis in the field of Literary Trauma Studies, which emerged in the 1990s as an interdisciplinary field examining the representation of trauma in literature. The study references key figures in trauma studies, such as Kirby Farrell, who emphasizes the clinical and cultural aspects of trauma, and Elisa Marder, who highlights trauma's inherently political and ethical dimensions. Miriam Haughton's work on "staging trauma" informs the analysis of the dramatic techniques used in the plays to represent suffering and pain. The paper also explores various theoretical perspectives on PTSD, drawing on the work of Cathy Caruth, LaCapra, and Judith Herman, to provide a comprehensive understanding of the characters' psychological states.

The study employs a qualitative research methodology, focusing on close textual analysis of *The Sins of the Mother* and *Outside Time*. The analysis centers on the dramatization of trauma in the plays, specifically examining the use of flashbacks and scenes where the boundaries between past and present are blurred. The paper analyzes how these techniques reveal the characters' traumatic experiences and explore various themes such as familial, social, and political issues. The analysis considers the structural aspects of the flashbacks, their functions within the plays' narratives, and their contribution to the overall meaning. The study draws on established theoretical frameworks from literary trauma studies and psychological perspectives on trauma to interpret the characters' responses and behaviors. The paper considers various aspects of dramatic techniques used, including the use of light and sound to signal transitions between past and present, the structure of flashback scenes, and the interplay of narration and enactment. The analysis also considers the significance of visual elements like staging and character interactions within these flashback scenes.

The analysis reveals that violence and oppression are presented as root causes of trauma in both plays. In *The Sins of the Mother*, the cyclical nature of trauma is evident in the intergenerational transmission of abusive behavior from mother to daughters. Flashbacks reveal the lasting impact of childhood trauma on Marie and Rose, highlighting the continuous process of victimization. Rose's decision to kill her mother, while a drastic act, represents a potential breaking point in the cycle of trauma. *Outside Time* showcases the multifaceted nature of trauma, incorporating personal, cultural, and political dimensions. Zahra's flashbacks depict the suffering of Iraqi women under Saddam Hussein's regime, highlighting the devastating impact of political violence. Zahra's confrontation with her father symbolizes her attempt to grapple with her trauma and hold the perpetrators accountable. The plays' endings both depict a blurring of past and present, emphasizing the characters' ongoing struggle with PTSD. The study finds that the plays' use of flashbacks serves several purposes: as a narrative device to frame history, reveal the characters' past, highlight the haunting of the past, and illustrate the victimizer-victim relationship. The analysis examines specific examples of flashbacks in both plays, interpreting the significance of their emotional intensity, visual cues, and character interactions. Both plays illustrate how trauma impacts not just the victim but also their relationships and surrounding communities.

The findings of this study contribute to a deeper understanding of how trauma is represented in contemporary drama. The analysis demonstrates the effectiveness of specific dramatic techniques in conveying the emotional impact of traumatic experiences. The study highlights the cyclical nature of trauma, particularly within family dynamics and broader societal contexts. The paper demonstrates how intergenerational trauma can be perpetuated across generations, requiring a conscious effort to break free from these cycles. The study offers insights into the diverse forms of trauma, ranging from domestic violence to political oppression. The paper's discussion also considers the potential for healing, highlighting the need for both personal "working through" of traumatic experiences and the creation of safe environments for recovery.

This study demonstrates how *The Sins of the Mother* and *Outside Time* effectively dramatize the complex and enduring effects of trauma through the use of flashbacks and the interplay of past and present. The analysis reveals the cyclical nature of trauma and its multifaceted manifestations. While the plays offer glimpses of potential healing, they also emphasize the lasting impact of unaddressed trauma. Future research might explore other dramatic works representing trauma from different cultural perspectives and consider the role of specific therapeutic interventions in facilitating recovery.

This study focuses on a limited number of plays. A broader comparative analysis of similar dramatic works could offer further insights into the representation of trauma across various cultural and historical contexts. Additionally, while the study draws upon established theoretical frameworks, further research could explore the interplay between these frameworks and the specific dramatic techniques employed in the analyzed plays.