This article applies discourse analysis to study the formation of theatre sub-field including cultural and artistic characteristics in the 1990s Iran, based on Pierre Bourdieu’s theoretical perspectives. The focus of this article has been on the 1990s, a time when a new wave of theater movements emerged and different works were created compared to previous decades. Respectively, the key question is what are the most important characteristics of a distinctive product in the 1990s. Accordingly, Teun A. Van Dijk’s discourse analysis had been applied to study “khane-va-de (family)” play by Mohammad Mosavat.  The findings indicate the formation of dimensions and capitals, the most prominent features of which manifest in aspects such as prioritizing performance over text, the absence of a central hero, typical characterization, complex staging, minimal decor, and empty scenes, a phenomenological view of the body, the dominance of post-dramatic theater, and borderless geography. In fact, “khane-va-de (family)” play has been written and performed to convey its specific concepts and discourse (the new field plan) against two levels of meaning and reasoning (the prevailing traditions) and to do so, it has clung to concepts such as simple decor, opposition to the text without a hero, and emphasis on global values beyond geography.