History has often been regarded as the recording of past events; however, rather than reflecting an absolute truth, it should be understood as a discursive narrative of the past. Drama and the theatrical stage, owing to their intrinsic connection with politics, society, ethnicity, and ideology, provide a crucial arena for representing such narratives. During the Pahlavi era, theater functioned as a social medium that both reconstructed historical memory and promoted the official ideology. This study, conducted through a qualitative, library-based approach within the framework of neo-historicism and with particular emphasis on Michel Foucault’s genealogy, analyzes two plays by Grigor Yeghikian: Anushirvan the Just and Mazdak and The War of East and West. The findings reveal that Yeghikian, through the re-creation of historical episodes, represents history not as a linear reflection but as a contested field of discourses and a network of power and truth. These plays, through narrative structure, characterization, and performative rituals, simultaneously critique the corruption of past powers and reflect contemporary Iranian concerns with social justice, national identity, and gradual reform. Thus, while Yeghikian’s works appear superficially aligned with the Pahlavi discourse, at a deeper level, they engage in a critical dialogue with the concepts of justice and the ideological abuse of power. By doing so, this study addresses the lack of neo-historicist readings of Yeghikian’s plays and contributes to a renewed understanding of the relationship between history, power, and drama in modern Iranian theatre.