The present study aims to examine the status and function of female characters in two plays by Bahram Beyzaie, Afra, or The Day Passes and Sultan Mar, in light of the components of Bertolt Brecht’s epic theatre. The main problem of the study is how female characters in these works move beyond the level of a merely narrative element and become a focal point for representing social, class, gender, and moral conflicts.This research adopts a descriptive-analytical approach and is based on library and documentary studies. The research data have been collected through the study of the texts of the plays, theoretical sources related to epic theatre, scholarly works on Brecht, and studies concerning Beyzaie’s playwriting. The data are then analyzed according to components such as alienation effect, gestus, dialectical opposition, and nonlinear narrative structure.The findings indicate that, in both plays, Beyzaie places female characters at the center of social crises and power relations. In Sultan Mar, Khanom Negar moves from an emotional and mythical position to the status of a conscious and transformative agent. In Afra, the female character, within a realistic context, resists economic pressures, social judgments, accusations, and patriarchal relations. In both works, epic techniques distance the audience from mere emotional identification and direct them toward a critical analysis of women’s position in society.The results of the study show that Beyzaie does not employ the components of epic theatre in a merely imitative manner; rather, he recreates them in relation to the cultural and social context of Iran.