Research Background Generally, the research and studies done on and about ancient Iranian theatrical traditions can be classified into two categories: the first division does not adopt mythology as its main approach. it just deals with mythological representation in the historical exploration of theatre. Among such research are Iranian pperformance traditions by Beeman (2011), A study on Iranian theatre by Beyzai (2011) and The evolution of traditional theatre and the development of modern theatre in Iran by Emami (1987). The second category, however, employs mythological approach. The following works fit these division: Ashourpoor’, s Iranian theatres (2011) collection, Sadeghi’, s Introduction of ritual drama (1994), and Samini’, s Theater of myths (2020). Questions, Hypothesis and Objectives: Some traditional performances, which have survived throughout the history and within the heart of the popular culture, have benefited mythological patterns along with prevalent mythological contents. One of these significant patterns relates to the scenario of the god/hero in a battle with a dragon or a creature that creates chaos. In this plot, god or a hero fights with a demonic force or a manifestation of it, and as a result, the whole creation of the cosmos is impacted,something or someone will be released from a captivity (Sarkarati, 2021). This pattern and dramatic representation of COSMIC battle can be regarded as the major dramatic background of many Iranian traditional performances. This fact highlights the need for further studies and research in this field. Such research also calls for more attention to these theatrical traditions in the modern discourse of theatrical analysis. In this article, we will answer these questions: How the pattern of COSMIC battle is represented as a central theme in some Iranian performative traditions such as Sukhan-vari, Daeeshmeh Ashiq, Pahlavan Panbeh, Pahlavan Kachal, Mir-e Nowrusi, and how those performances are related to shark? How a traditional performance can function more than a ritual and how can it be considered as a social necessity? Discussion As Eliade wrote, myth is a repetitive narrative that talks about creation, and human beings become synchronous and contemporaneous with mythical events through rituals (Eliade, 2014). In other words, the representation and indoctrination of the primordial narrative of a myth is made possible by theatricality. Accordingly, time, space, and objects in ritual performances are bifunctional and carry metaphorical features with themselves that Eliade calls sacred/holy representation (Eliade, 2020). The mythical pattern of the god/hero who kills a primordial monster, in combination with the concept of Iranian duality, is apparent in the structure of performances such as Sukhan-vari, Daeeshmeh Ashiq, Pahlavan Panbeh, Pahlavan Kachel, Mir-e Nowrusi, and shark-related shows. In the plot of these traditions, two characters fight with one another, either a verbal battle or a physical one. The winner is cherished as is spring, fertility, and order, and the loser is disregarded as winter, sterility and chaos. Accordingly, both spectators and performers participate in an eternal event. Conclusion It can be concluded that in the first place the plot of COSMIC battle is a theatrical pattern, and the concept of battle can be considered as a dramatic theme. The similarities of the scenarios and the forms of manifestation of the sacred entity in the above-mentioned traditions confirm this claim. Ritual as a mediator of contemporaneity with religious experience, has a purely repetitive character, but theatre can move this repetition to another stage, and lead it away from the limited borders of ritual and expand it wide as far as possible. It is why traditional plays can go beyond the status of pure exhibitions and lead to a social change.