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The later Wittgenstein believes that there are unlimited forms of language that can lead to language-games. In one of these forms of language-game, from the viewpoint of the later Wittgenstein, the verbal language in the recognition of communication not only represents thought, but in broader and social definitions, can serve as a sign for expressing power relations. This thought is reflected in the discourse between dominant forces in society. In this discourse, the power that takes advantage of verbal language is recognized as the center, who tries to impose its way of thinking on the margins. In the course of this language-game, however, the center is not fixed, and the margins periodically become the center and recreate itThe reflections of this theory can be explored in the performing arts form of Takht Houzi (also Siah-Bazi) as an Iranian traditional-ritual play. In this form, the master represents and acts as the center (power) that molds its superiority in a discourse with Black (Siah) Meanwhile, Black, as a marginal type from the traditional community, resists the center/master through verbal measures (known as the Kaka'i language). The paper aims to study the play that name Soltan and Siyah by Ali Nasirian, with the analytical-descriptive approach, first delineate the language-game theory of the later Wittgenstein, and then examine the verbal actions embedded in Takht Houzi to shows how social criticism is shaped by this notion and is represented by the margin-center game within the verbal language.
 
 

Keywords: Wittgenstein, language-games, Social Criticism, Margine, Center

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