This research was formed by studying the narration pattern in the plays that were performed in the form of documentary theater in order to answer a question which is "To what extent do the narration patterns contribute to the advancement of the documentary play?" The current research was conducted with a descriptive-analytical method while examining and presenting a clear and comprehensive definition of documentary theater with the aim of introducing and opening a new chapter in the field of documentary theater. The result of this research in the qualitative field is focused on issues such as narrative patterns and narrators and their types in the narratology of documentary texts to what extent they contribute to its advancement. It has become more serious since 1390 and we are facing more documentary works than in the past decades in the country's theater scenes, although the amount of these works is still not so much that we do not consider this trend weak. In this regard, it can be said that the non-payment of the narrative model of documentary theater in Iran is academic in the country's universities, therefore, students and academics are also weak and underemployed in this field, and the understanding and recognition of the model of documentary theater narration among directors and theater people is very low, and this It makes them not go to work in this field. Theater audiences are often story-loving, and due to the fact that the storytelling pattern in documentary theater is less than that of conventional theater, this type of theater has a smaller audience and it can be said that in Iran we are facing a lack of narrative pattern flow, and narrative patterns are the driving force behind documentary drama. It has a significant contribution.