Among the views and opinions of Ernst Cassirer, "mythical time" holds a prominent position; however, the way it is utilized in literary-dramatic works is one of the most complex matters, such that fewer works can be found that have fully manifested it.
Bahram Beyzai is one of the few playwrights who has achieved this success, and this can be considered one of the reasons for the success of this category of his works.
This article aims to understand the techniques and how the concept of mythical time is employed by Beizai in his selected works, providing suitable examples for modeling and the use of mythical time in theatrical works. The importance of this research lies in its effort to examine the characteristics of mythical time, particularly from Cassirer's perspective, and illustrate them through dramatic examples, providing a guide for playwrights interested in incorporating mythic concepts into their works.
To achieve this, the study seeks to answer the question: What techniques does Beyzai use to mythologize time in these works? The research method used is descriptive-analytical, and the necessary data has been obtained through library documents and reliable internet sources. The article, while presenting Cassirer's views as a theoretical framework, examines the plays Afra, The Death of Yazdgerd, and the Eighth Voyage of Sinbad by Bahram Beyzai to find how mythical time is manifested. The results indicate that Beyzai has succeeded in making the time of his works mythical by "qualifying and subjectifying" time, focusing on "event-centeredness," and eliminating "linear time," thereby making it circular and approaching Cassirer's ideas.