The relationship of the play with society throughout the various literary eras has been a positive one, as it is always an image of social life with all its values and ideas, the philosophies that prevailed in it and the changes that took place in it, and the theater enjoys the ability to create, through live paintings, whether these paintings are of reality or of intended events. In which those mutual relationships develop between people, which is an important point of light on which the reservoirs of nature, history, life, and the human being can be reflected, interrogating ideas and portraying the reality of accidents, repeating what historians have deleted, coordinating what they have uncovered, concealing what they have forgotten, the interest of it, to fill the spaces with imaginations that have the color of the time that We live and live. Hence, the theater cannot be separated from the values of the era in which it lives, because even if it is an individual act, it depicts the group aware of its movement and conscious of its requirements.We do not deny here that the Iraqi theater existed before the revolution, but we say with reassurance that the revolution has created a sound atmosphere to consider the dimensions and inclusiveness of life, and this modest research is an attempt to touch the horizons in which the Iraqi theater has flown without mentioning many details, because we do not aim to present an artistic study of the Iraqi theater. Rather, we try to touch those luminous prints that were placed on an important question of creativity.Perhaps one of the difficulties in carrying out such a task is that there are not enough signs of fun if not lack thereof, so we are monitoring those gates that have opened to creativity in different directions, including: HistoryHeritage - the effectiveness of the Palestinian resistance as a model for the national orientation - the human horizon.These trends came within the first section of the research, which focused on theatrical contents and the endeavor to entrench an Arab theatrical structure. As for the second part of the research, it was devoted to a brief indication of the official measures taken under the leader to support the theater and revitalize its movement.