Even though condolence theater is known among scholars of the world as the only theater of Islamic culture or the most consistent and most significant theater of Iranian Shias, its coverage has surpassed Muslim events. Iran’s condolence theater, specially in its prosperity during the Naseri period, gradually surpassed the martyrdom of Imam Ali (AS) and the 61 Hijri Ashura and included the lives of other Imams, the wars of Prophet Mohammed (PBUH) and the lives of his followers. As a result of the centralization of power phenomena such as improvement of mutual relationships with other lands and civilizations, upheaval in the structure of the society, change in the method of life and the improvement of condolence theater necessitated the instruction of modern narratives and ushered a any era for condolence writing. Borrowing narratives from the Bible, the lives of people of other religions and their contribution to condolence theater occurred in this era and the expanse of improvements were such that they began covering contemporary figures. Creator of condolence theater (writers, producers and actors) were Muslim Iranians yet they paid some attention to other religions and civilizations, trying to draw the attention of audiences from other religions as well as their own, trying to reach a wider audience. They would segway anything subject anywhere to the events of Karbala in order to get the message of “کلُ یومٍ عاشورا وَ کُل ارضٍ کربلا” across. Figure from such religions as Christianity, Judaism, Hinduism, Manichaeism, and Zoroastrianism are more prevalent than other religions. Therefore, the Muslim Iranian condolence theater during its prosperity, unlike religious performances in Europe, was not limited to the religion of the performers. It looked to deeply connect with its audience rather than being merely limited to ideologic or ritualistic concepts.