Naqali is one of the traditional performing arts of Iran that began with Gousan and Qawwali and with the arrival of Islam and the prohibition of music, it started to focus on enhancing movements. This art has various characteristics that require understanding and examination. Some of these features have the potential to be presented in intercultural interactions, which can be studied from an anthropological perspective. Among the theorists who have addressed traditional Eastern performances under the achievements of anthropology, Eugenio Barba is one whose model can serve as a suitable guide for examining the performative aspects of storytelling. Barba finds the extra-daily body and the principles of pre-expression and its elements, including the principle of balance, the principle of contrast, and the principle of continuous discontinuity in the body of the Eastern performer. This research aims to examine these principles in some of the movements and sounds of Naghali in order to achieve a better understanding of movements and conventions in performance. With this approach, we conducted a descriptive and analytical study of the Naghali of Murshid Torabi and concluded that: 1- This art inherently possesses these elements in some of its creative and conventional movements. 2- The principle of contrast has the greatest effect in the performance of Naghl. After that, the principle of balance and the principle of continuous discontinuity have different functions in movements and sound, respectively. 3- These elements are more evident in movements than in sound. At the end, by taking a closer look at Naghali, in addition to efforts to preserve this art, it is possible to analyze this traditional performance and introduce it to artists, as well as to enable the younger generation to become more acquainted with Naghali in a more scientific manner.