There is no doubt that the history of different literatures reveals the energies of interaction and exchange between the arts. Anyone who explores these backgrounds will notice that the idea of brotherhood between the literary arts is old, which makes them draw inspiration from each other. In fact, imagining the existence of a connection between the arts negates the idea of severing them and then reading them in isolation from the extent of influence and being influenced, because the arts are united by a common unity. For example, the connection between poetry and theater is a real connection that is not based on comparison and similarity, as they are linked by a close relationship that appears in the historical background that stipulates that theater is considered among the poetic arts in the era of the Greeks. The play was the most closely related art to poetry until lyrical poetry appeared, and according to it, the theater gradually became separate from poetry. However, the expansion of the horizon of poetry did not reduce its ability to absorb theatrical artistic media, but rather the poetic discourse contained the mechanisms and techniques according to the theatrical achievement. Accordingly, modern poetic texts acquired a flexible characteristic and nature through the introduction of innovative patterns into it by poets who tried to take poetry out of its traditional style and inherited style. It is worth noting here that we refer to the Omani poet Saif Al Rahbi, who enjoyed poetic modernity and whose complete poetic works we are studying three volumes from the perspective of the mechanisms of theatrical formation. This thesis aims, according to the descriptive-analytical approach, to provide a cognitive perspective by monitoring Al Rahbi's poetic experience. Accordingly, the motives for our choice of this topic were manifested in objective reasons more than being subjective, which allows reading poetic texts according to modern mechanisms that take the study