Brook’s theory of the “holy Theatre” redefines the function of language in performance. For Brook, language is not merely a medium for conveying information or facilitating everyday communication; it is a vehicle for revelation, invocation, and the manifestation of unseen forces and transcendent realities. holy language, in this view, must open a portal to dimensions beyond the ordinary_inviting the audience into a space of mystery, depth, and spiritual resonance.This article explores the capacity of language in Bahram Beyzaie’s Death of Yazdgerd to align with Brook’s notion of holy theatrical expression. Rather than serving as an instrument of linear narrative or straightforward message delivery, the language of holy theatre_as envisioned by Brook_must evoke a heightened experience: profound, transformative, and metaphysically charged. The analysis is grounded in Brook’s theoretical framework and applies his criteria to the text of Beyzaie’s play to assess its degree of holyness .From Brook’s writings and conceptual foundations, eight core features have been distilled that characterize holy language in performance. These include qualities such as brevity, paradox, sonic resonance, symbolic density, imagistic power, and non-verbal suggestion. Among these, six traits that lend themselves to textual analysis are selected as the basis of this study: conciseness, paradox, linguistic imagery, metaphysical resonance, non-verbal potential, and symbolic compression. The findings indicate that Death of Yazdgerd exhibits a strong affinity with holy language in several domains. Notably, the play demonstrates a high degree of verbal economy, with 95% of its language reflecting conciseness and precision_qualities essential to Brook’s ideal of a distilled, charged theatrical idiom. Moreover, paradoxical structures_juxtapositions that challenge rational comprehension_constitute 52% of the analyzed content, reinforcing the play’s alignment with Brook’s emphasis on contradiction and tension as vehicles for transcendence . Linguistic imagery and mental visualization, which evoke internal landscapes and archetypal scenes, appear with reduced frequency (24%). Likewise, the use of non-verbal or musical elements_important in Brook’s holistic model of performance_comprises only 8% of the textual strategies, suggesting a limitation in auditory and sensory evocation .A further obstacle is the presence of violent language and motifs, which account for approximately 15% of the script. While violence in itself is not antithetical to holy drama, its unmediated presentation can conflict with the contemplative and transformative aims of the holy mode.In conclusion, this study finds that approximately 65% of the language in Death of Yazdgerd aligns with the principles of holy theatre as outlined by Peter Brook. The play demonstrates a partial but significant movement toward holy theatrical language, suggesting Beyzaie’s sensitivity to metaphysical and spiritual dimensions within dramatic form. Yet, it stops short of fully embodying the holy, remaining suspended between the poetic and the transcendent. Thus, Death of Yazdgerd may be seen as a work in transition_a powerful attempt to touch the holy without fully crossing its threshold.