The relationship between intellectuals as generators of ideas and actors of critical wisdom, in the context of the historical developments of the last years of the Pahlavi II regime, with the visual school of Saqaqhana and the dramatic works of Saqaqhana theater is the subject of recent research. In order to understand the relationship between the visual works of the Saqakhaneh school and dramatic texts, this research measures their relationship with each other, considering the two components of "Westernization" and "Returning to Folk Authenticity". Saqaqhana visual school, which is influenced by the visual decorative elements of popular culture, to produce a modern and original work, in discovering the symbolic aspects of religious ceremonies such as the Karbala event, gives an artistic role to the objects of folk rituals and the details of the rituals of the street and bazaar people. This dealing with a ritualistic aspect of the popular life of the people in performing arts also in the form of the effective presence of sometimes non-dramatic and decorative ritual rituals, along with some dramatic elements of popular culture with the symbolic middle of Saqaqhana in the dramatic works, brings these works to the visual arts space of the Saqaqhana school. it approaches The acceptance of the presence of Shiite idols and traditional religious arts in visual and visual works in the form of transformed objects and situations is an attempt to visualize and show a kind of painful reluctance of the spirit of the times. The purpose of the upcoming research is to propose a common approach in examining the visual arts and performing arts of the 1340s and 1350s, considering the intellectual behavior of this era. In addition to the translation of decisive works in the cultural minds of the society such as "Hells on Earth" by Frantz Fanon, witnessing the emergence of many types of intellectual works of intellectuals of this era, including; We are Ahmed Fardid, Jalal Al Ahmed, Dariush Shaygan and Ali Shariati. The efforts of some ecological intellectuals, such as Shadman and Al-Ahmed, with cultural influences in Iranian society, have not been without effect in the attitude of returning to popular authenticity. The researchers of this research, regardless of the common categories influenced by the national theater group, suggest the title of Saqakhane theater for scattered drama texts outside of this category, which have common criteria with each other and with the visual school of Saqaqhana. By building a memorial for Farhad and Koh, Tanavoli narrates the glory of the past and creates the lover's longing in the decorations of buildings such as the tavern and elements such as locks. Baizai also tries to show Akbar's longing for the loss of Ayari religion. The unity of thought, affected by the spirit of the times, has produced a work of art. The romantic effort and the common people's beliefs about it, a combination of locks and chains to carry out an impossible mission and carve mountain rocks, are poetic allegories that Tanavoli has used to portray a legendary artist, Farhad, allusions and metaphors. Parviz Tanavoli's Persian literature has shown itself in the forms and objects belonging to Saqaqhana. Baizai has also tied a combination of a lock and a love chain of Pahlavi to Saqaqhana. A warrior offers the name of Akbar in the prayer chain of an old woman at the door of the battle hall. A vow that Akbar sacrifices the little son of the old woman, Haider. Akbar's chivalry is revealed when he goes through his favorite girl to marry Haider. The similarity of the ideas of these two works is due to the atmosphere of the tavern. In this research, by categorizing the performance of Iranian intellectuals in the two fields of critical attitude of westernization and the idea of returning to the folk self, a kind of localism was revealed in the macro-intellectual space, which, in addition to the effects on culture, caused the formation of a kind of indigenous art nouveau called the Saqaqhana school. The comparison of the Saqaqhana visual school with the term proposed in this article, the Saqaqhana theater, with regard to the components of the native intellectuals, shows that the Saqaqhana visual school and the Saqaqhana theater, influenced by the first component, are trying to deal with local material facilities, instead of hastily imitating West, to create a kind of companionship of the West with the vernacular axis. Therefore, both in theater and in visual arts, the people of Saqqah are trying to summarize Iranian culture in folk culture and tradition and to seek help from this culture for their modernity. The second component of the idea of returning to popular culture in direct relation with native intellectuals, deals with the acceptance of "saqakhane" as an authentic folk self that has nostalgia for time, space, ethics and society. This art school's nostalgic interest in the "tavern" in visual arts and theater defines the return to folk authenticity as a full-fledged representative of national culture in dealing with modernity.