Majmū'ah namāyishnāmah'hā-yi mudirn-i ālmanī (10jildī,bā'qāb): Persian 1401

In the mid-eighties, a type of theater was formed in Europe, especially in Germany, which was far from the traditional theater of the past decades; a type of theater that was admired for using many digital techniques and by using the facilities of various media on the stage. It provoked many theater critics. In 1999, Hans Theiss Lehmann, professor and theater researcher at the University of Frankfurt, Germany, first chose the term postmodern theater for this type of theater style. In a very short time, this theory by the German professor was welcomed all over the world. In such shows, the text of the play does not focus on the staging (explanation of the scene) and other performances of the show. The play no longer has a literary contribution as in the past and is written only for the actors. In this show form, like the old styles, especially the ancient Greek theater, there is no stage design, lighting, etc., and the burden of all these factors is placed on the shoulders of the actors and sometimes their wives. This is the way we are facing it in Brecht's theater as well, and by the way, the postmodern theater has a glimpse of Brecht's theater and constantly points out that the audience has come to see a theater and not something else.