Theater is one of the most important aesthetic arts that works to create active properties in creating different formations. Since its inception, it has searched for a specificity that takes on the structure of the relationships and discourses that the actor performs according to centralized aesthetic components that soon fell under the necessities of modernization through the development of performance and the requirements of keeping pace with taste. The performance of the actor has moved towards more liberated essences from the centralizations and traditional constants, especially those requirements imposed by modernity, which formed starting points for a new vision of the performative given on the theatrical level. In light of the above, the research problem was embodied in the following question: How does fragmentation and its mechanisms of operation manifest themselves in the performance of the dramatic dancer in the Iraqi theatrical performance?