This study adopts a dramaturgical approach to analyze the collapse of the interaction order and scandal management in Gholamhossein Saedi’s play, Majaraye Namous-Parastan. The primary research problem addresses the gap in explaining how the dramatic form represents the decline of the moral subject and the structural rift between traditional life and modernization. The methodology employs qualitative content analysis of dramatic text through systematic textual interpretation, where textual data (dialogues and stage directions) are coded and analyzed based on paired concepts from Goffman’s dramaturgical theory. The findings indicate that Saedi constructs characters not as subjects with inherent morality, but as situational actors who project a false consciousness of puritanism as their idealized image through personal fronts and spatial boundaries. Analyzing the interaction process reveals that transitioning from the public frontstage to the private backstage leads to an interactional nudity where morality is reduced to a survival technique. The final results demonstrate that, contrary to the assumed stability of performance teams, the collapse of the social order in this play stems from internal conflict of interest within the team and information leakage from the backstage. Consequently, this shifts the actors’ status from discreditable to discredited, permanently etching the stigma of structural hypocrisy onto the defenders of tradition.