Abstract: So much the better in modernity, certain waves lend crucial gravity to the sense of empathy and eschew any act of histrionics; an actor should transpire a response finding its way into the heart of the prescient leadership. Stanislavsky is one of the most reputed dramatists bound to such a locus and sets several furrows in the land of dramaturgy. In all fairness, his dramatic strategic maneuvers strike deep roots in Sanford Meisner world pertinent to the reality of doing; the fidelity of doing that spawns a tinge of particularity; his technique. For Stanislavsky magic if is a vent to an actor to divulge his own stamina as much as she/he imagines the straits a character confronts as his or hers. Yet Sanford Meisner takes hold of as if as a spur to the emotional memories; the past, to spew the ambience with reality pebbles adrenaline into the audience. That is why both of the dramatists Richard Brinsley Butler reputed as Sheridan and Ridha Al-Khafaji reputed as a Husseinist theatre theory pioneer give much shrifts to the dialogues , realist and pivotal, to make their viewpoints and philosophy sound true; the doctrinal drama stimulates such specific manifestos ; Eros as a contour strikes deep roots in ancient Greek sources. Sometimes it floats into the fore as mysterious; as a primordial god, or as a son of Aphrodite with a predilection to vex other gods leading him into eliciting various colours. The satirical poets portray him as a blindfolded child running equal to the chubby Renaissance Cupid, yet the early Greek poetry depicts him as a mature male epitomizing sexual power and fertility. Parmenides (c.400 BC) ,pre-Socratic philosopher ,drags Eros into peerage as the front runner in the gods hierarchy and as the formidable impetus to love and lust , as Abel, since eros renders emotion into mortal and commingles both love and fire or war; he is quite mindful of the feat he wields. In the domain of psychology, Eros purports a life instinct accountable to the innate human desire that takes hold of both productivity and construction. Hence, a tug of war occurred between Eros and Thanatos, the death god as Cain, grows rockhearted and bears rancour against the mortals and immortal gods. As a slumbering infant Thanatos ensconces his head in the chest of his mother Nyx, as a youth holding a butterfly, designating life as winged. Yet Thanatos, in the domain of psychology, heaves into view as death instinct stipulating non-existence. For some reason or other, from Christianity to Islam Cain and Abel take two contradicting poles; the former epitomizes the thanatos instincts, the latter does the eros ones. Cain, as a tiller, could not bear finding his brother elevated; God accepts Abel’s sacrifice, sheep, contrariwise He rejects Cain’s, fruit. Thus jealousy finds a headway into the frustrated one, the moment offers itself to lay Abel slain; the genesis narrative, in this regard, certifies both jealousy and fratricide germinating the seed of hate and envy into the human blood. Behind the acts of sinister machination there is self-suffering; man lusts for being paramount and salient at the expense of common precepts. In dramaturgy, characters ramify into myriad clusters, yet they eddy around a conflict; School for scandal triggers desire seekers: a brother, wile and feline, decides to weave a labyrinth of rumours to cast his twin brother into demise for the sake of much self-interest; it is a kind of thanatos desire. The blood effulgence of Karbala Chronicle depicts a shrine emitting the ray of light and faith to all people, shepherding the vagrant and the stray and keeping man pure and chaste, whose pivotal character lies sacrificial in wait of something doctrinal, each endeavours to cast morality in light of didactism and probity; a character has recourse to reality and both the magic if and as if just to petrify the interlocutors. On the contrary, man desires to devastate such a pillar and crush himself shackled and eyefolded to truth and faith; a hollow man leads himself to a cob's web. Throughout ages, several clouds, cumulonimbi, or waves; tornadoes and conspiracies all syndicate to shroud the light, or mar the rivulets of knowledge; some try valiantly at the anvil of quixoticism to be a bulwark against such a thanatos proclivity. Under the minaret of such a shrine all the faithful are brethren; some, from blood and fresh, desire to leave the shrine destitute of sapience and sanctity. In the first place, the actual paper endeavours to highlight the human desire in light of both religious drives and psychological ones. In the second place, it explicates such a desire regardless of time, since human desire is lethal and innate; the more life grows complicated and intrigued, the more it trickles abomination.