Purpose - This research provides an anthropological analysis of the image of women in Ferdowsi's Shahnameh using Erving Goffman's dramaturgical theory. As one of the most important epic texts and bearers of Iranian cultural identity, the Shahnameh provides a rich context for examining gender representations and social roles of women. The main focus is on four key female characters, Tahmineh, Rudabeh, Farangis, and Katayoun. The study examines how these characters reflect the cultural, gender, and social tensions of Ferdowsi's era through their "performance" and management of dramatic effects, and analyzes the role of epic literature as a tool for representing, reproducing, and challenging social norms. The research also seeks to understand the impact of the interaction of social "staging" (front and backstage) and the cultural habitus of the characters on their dramatic strategies.In this framework, women are considered not only literary characters but also dramatic actors who highlight the dynamics of gender identity in ancient Iranian society.

Methodology - This article uses a descriptive-analytical-comparative method and draws on Erving Goffman's theoretical framework (the concepts of performance, spectacle, staging, affect management, front and backstage performance, and stigma). Data are collected through a semiotic and contextual analysis of female characters in the socio-historical context of the Shahnameh. The method involves the systematic coding and analysis of dramatic elements (roles, appearance, interactions, and stage space) and their relationship to gender and social norms. The comparative analysis focuses on the interaction of women's dramatic actions with patriarchal structures. The data are validated using textual sources from the Shahnameh and previous studies to ensure the validity and reliability of the analysis.This methodology allows for an in-depth comparison of gender representations.

Findings - The women of Shahnameh as dramatic actors, by playing symbolic roles (the devoted mother in Tahmina, the loyal wife in Rudabeh, the resistant woman in exile in Farangis, and the guardian of racial identity in Katayoun), represent the cultural and gender tensions of Ferdowsi's era. Through the clever management of their image in epic social scenes, they reproduce patriarchal norms, but behind the scenes, they reveal hidden power, initiative, and culturally active roles. The comparative analysis shows that these characters, by utilizing dramatic techniques (appearance, behavior, and staging), both participate in the reproduction of structures and demonstrate the capacity for symbolic challenge and resistance.Conclusion- This study showed that epic literature acts as a mirror of cultural and gender dynamics and is able to depict complex representations of women’s roles. By managing dramatic effects, female characters in Shahnameh both reinforce existing norms and highlight hidden capacities for transformation. Differences in dramatic strategies are rooted in the interaction of individual actors with sociocultural structures. The research suggests that the study of female characters in other ancient texts and similar societies should be continued for comparative studies of gender and contemporary cultural policy-making. Finally, this analysis suggests that a cultural anthropological approach to epic texts can contribute to a deeper understanding of actors’ interactions with social structures and provide a basis for cultural policy-making in the area of ​​gender identity.