Using a phenomenological approach for analyzing Shabihkhani and elucidating the fundamental conditions for its realization, this paper would try to answer the following question: how performer’s verbal and performative elements constitute Shabihkhani? This analysis differs from other approaches in that it does not solely rely on textual and literal structure of Shabihkhani. The paper would draw on Bert States’s theory on performer’s presence in theatre, known as phenomenological modes, to further provide a critical evaluation and analysis of performer’s presence in Shabihkhani. States has demonstrated the use of phenomenology in understanding the formal structure of a performance through considering actor’s presence on stage as a main theatrical event in general and verbal communication during performance in particular. He also recognizes three modes of confrontation with audience, namely self-expressive mode, collaborative mode, and representative mode. These modes may serve as a basis for providing an analysis of a particular theatrical event in particular era or period of history. Using his theoretical framework, it is claimed here that Shabihkhani provides a cloudlike atmosphere among the three modes in the course of which audience and performer experience a shared experience of the world through a dynamic rapport to each other.