The social, cultural, literary, and theatrical efforts of pre-Constitutional and Constitutional Iran are often examined as mere political intentions, and strictly read in light of political theory. Even though the literary and dramatic productions of this period were often the works of individuals with a bold presence on the oppositional scene, political analyses of these literary and dramatic productions have made them understudied in their immediate disciplines. After political historians, these sources have been examined by literary scholars, less so by legal historians, and in the English academia, almost never from a theatrical perspective. This paper is an effort to read Mirza Malkom Khan’s Qānun newspaper (1890-93) as a foundation of modern Iranian playwriting. The paper revisits theories of Iranian Constitutional Revolution (1905-1911) from a theatrical perspective, and, as a case-study, examines Qānun newspaper for its politicization. In order to create unity between various social types present in the constitutional movement, Qānun created fictitious conversations, and put real historical figures in imaginary dialogues. These dialogues constitute the theatrical issues of Qānun. In a close reading of these issues, the paper argues that their significance is in their appearance as written theatrical scenes with an author-audience awareness of their theatricality, lying the foundation of modern Persian playwriting.