This study examines The Thirteenth Night, a play by Hamid Amjad, as a contemporary reinterpretation of Iranian historical and traditional contexts that extends beyond the framework of historical comedy-drama. The research argues that the play offers significant potential for analyzing power relations and political dynamics not merely through its thematic content, but through its dramatic form and aesthetic structure. Drawing on Jacques Rancière’s theory of the ‘aesthetic regime of art,’ the study investigates how political meaning is embedded in form rather than message, particularly through disruptions in representation and the redistribution of the sensible. The central issue of this research is the underestimation of the political capacity of dramatic form in Iranian historical drama. Conventional readings often focus on narrative content and socio-historical representation, overlooking how aesthetic form itself can function as a site of political intervention. From Rancière’s perspective, politics in art does not emerge from explicit ideological messaging, but from the reconfiguration of sensory experience and the disruption of established regimes of visibility, speech, and bodily placement. Accordingly, the objective of this study is to analyze the mechanisms of ‘disruption’ and ‘redistribution of the sensible’ in The Thirteenth Night based on Rancière’s aesthetic regime of art. The research specifically focuses on how theatrical devices such as gender cross-dressing and ‘play-within-a-play’ structures challenge hierarchical social orders and destabilize representational logic. The study is grounded in Jacques Rancière’s triadic model of artistic regimes: the ethical regime of images, the representational regime, and the aesthetic regime. Among these, the aesthetic regime is considered the most significant, as it dissolves hierarchical distinctions between subject matter, genres, and forms of representation. Central to Rancière’s theory are the concepts of: 1- Police order: the system that defines what can be seen, said, and heard within a given social order. 2- Distribution of the sensible: the implicit structuring of perception that determines inclusion and exclusion in social and political life. 3- Politics: the moment when this distribution is disrupted through the emergence of previously invisible or voiceless subjects. 4- Aesthetic regime: a condition in which hierarchical distinctions between high/low subjects and artistic forms are abolished, enabling new configurations of perception. From this perspective, politics is not institutional consensus but dissensus—a rupture in the established sensory order that allows new subjectivities to emerge. This research employs a qualitative, descriptive-analytical method based on library and textual analysis. The primary source is the play The Thirteenth Night, alongside theoretical works by Jacques Rancière and related secondary literature. The analytical procedure involves: a) Clarifying key theoretical concepts (aesthetic regimes, police order, redistribution of the sensible). b) Applying these concepts to the dramatic structure of the play. c) Identifying moments of rupture in hierarchical social and symbolic systems. d) Analyzing key dramatic devices such as cross-dressing and role inversion as political-aesthetic acts. The play demonstrates a systematic disruption of the established distribution of the sensible. Set in the Qajar era, it portrays a rigidly hierarchical social system in which gender, class, and spatial boundaries determine visibility and agency. Female characters such as Zarrineh and Sanam-Nesa are initially positioned within domestic confinement, reflecting a patriarchal ‘police order’ that regulates speech, mobility, and bodily autonomy. Their lived experiences reveal a system in which women are excluded from public visibility and decision-making processes. However, Zarrineh’s resistance to these constraints introduces a rupture in this order. Her critique of domestic confinement and gender inequality challenges the legitimacy of inherited social norms, thereby destabilizing the fixed distribution of roles. A central mechanism of disruption in the play is cross-dressing. Zarrineh’s decision to disguise herself as a man in order to leave the domestic space functions not merely as a narrative device, but as a political act in Rancière’s sense. This act reconfigures visibility and mobility, allowing her to occupy spaces previously forbidden to her. Similarly, Kamran-Mirza’s cross-dressing as a woman to enter the female domestic space further destabilizes gender binaries. His action exceeds romantic or comedic function; it becomes an intervention in the sensory and political order of the Qajar society. By crossing gender boundaries, both characters reveal that identity itself is constructed and contingent rather than natural or fixed. These acts expose the arbitrariness of gender roles and demonstrate that subject positions are produced through social and aesthetic arrangements rather than biological essence. In this sense, cross-dressing operates as a form of ‘dissensus’ that interrupts the police order and generates new perceptual possibilities. Another significant device in the play is the ‘play-within-a-play’ structure, which disrupts representational transparency. By exposing theatricality as constructed rather than natural, the play undermines the illusion of realism that sustains representational regimes. This self-reflexive structure dissolves the boundary between performance and reality, compelling the audience to recognize the constructed nature of all social roles and narratives. As a result, the hierarchical relationship between actor, character, and spectator is destabilized. In Rancière’s terms, this transformation redistributes the sensible by dissolving fixed positions of seeing and knowing. The audience is no longer a passive recipient of meaning but becomes an active interpreter engaged in meaning production. The play also reconfigures spectatorship in line with Rancière’s notion of the ‘emancipated spectator.’ Rather than positioning the audience as passive observers, The Thirteenth Night invites interpretive participation. The spectator is compelled to reconstruct meaning independently, thereby becoming a political subject. This shift transforms theatrical experience into a site of subjective emergence, where individual perception replaces imposed interpretation. The spectator’s engagement becomes a form of intellectual and aesthetic emancipation. The findings of this research demonstrate that The Thirteenth Night is not merely a historical or comedic representation of Qajar society, but a politically charged aesthetic structure that enacts Rancière’s concept of the redistribution of the sensible. Through mechanisms such as cross-dressing and play-within-a-play, the work disrupts hierarchical social orders and exposes the constructed nature of gender, class, and visibility. These aesthetic strategies function as political acts that challenge the ‘police order’ and open spaces for previously marginalized voices. Zarrineh’s transgression of domestic confinement and Kamran-Mirza’s violation of gender norms both contribute to a reconfiguration of perceptual and social boundaries. Moreover, the play’s self-reflexive structure destabilizes representational illusion and transforms the spectator into an active interpretive agent. Ultimately, the study argues that Hamid Amjad’s The Thirteenth Night should not be read merely as a comedic or historical drama, but as an aesthetic-political intervention that reconfigures the sensory and symbolic order of theatrical experience. In doing so, it exemplifies Rancière’s notion that art becomes political not through representation, but through the disruption of perception and the redistribution of what can be seen, said, and experienced.