Storytelling is regarded as an anti-aesthetic of classical dramatic form or a Brechtian element in theatre. But in contemporary theater, this tendency is a new form of communication between the audience and the actor and an alternative aesthetic search. Reasons of western conventional theatres deny is clearly appear when discuss it in the context of theater anthropology. The development of written culture in Western societies detect the “what the dramatic is?” on the other hand narrative culture in Oriental societies regard as storytelling is the unique form. Even in today, a storyteller is sharing sacred texts and religious stories in village squares, coffee houses and temples in Afghanistan, Iran, India, Mesopotamia and Anatolia. Despite the fact that the borders between the countries have become clear, the boundaries between these two traditions have become ambiguous. It seems that the plays which tell stories on stage are increasing rapidly while the postmodern theatre was about to declare the sovereignty of performance. Today, as the relationship between life and play is tried to be restructured, the story has re-established itself as the center of dramatic structure. In the postmodern era, while hybrids are a popular trend, playwrights are also seeking a new way to communicate with the audience.

Contemporary Theater, Mimesis, Diegesis, Narrative, Traditional Theater, Storytelling