Dramatic literature has always combined its narrative structure with social themes and has dramatized the problems of its audience’s society. In recent decades, rereading the history of women in the constitutional era has become increasingly noticed and has led to the production of important texts in the field of dramatic literature. The current study tries to examine these rereadings from the perspective of the sociology of art. In this regard, three plays Nudbeh (Bahram Beyzai), Ghadamshad the Minstrel’s Martyrdom-playing in Tehran (Mohammed Rahmanian) and The Thirteenth Night (Hamid Amjad) focused on the constitutional era’s women, which are considered as the case studies of this research, are analyzed from the point of view of Pierre Bourdieu. According to Bourdieu, humans have a specific logic for their actions, and it is this logic of action that connects humans to the social world around them. The mental structure is the result of occupying a special position in the social world, and it can be said that if this position changes, the mental structure will also change. According to Bourdieu, field theory explores the dimensions of human action (agents) in society with the relational triangle of habitus, field and capital. The result is that; Although the heroes of these works are a representation of the women of the writers’ contemporary society, their placement in the upper reaches of the power field of the constitutional era can be taken from the idealistic nature of these texts.