Kolah Ghermezi, has been broadcasted for almost twenty years and by now is an inseparable part of New Year and religious holidays in IRIB. The hypertextual, unofficial and highly satirical quality of this sitcom, has great role in its popularity. It paradoxically both incorporates and challenges what it parodies. It also forces a reconsideration of the idea of origin or originality by utilizing different texts created by canonical artists, philosophers, and scientists. In this program, the puppets play some performances on a real stage some of which are adaptations of Shakespearean tragedies and history plays: Othello, Romeo and Juliet, Hamlet, and Pericles. This paper intends to scrutinize the director’s recontextualization of Shakespeare that can magnetize wide range of audience and fitt the cheerfulness of Norooz. Since entertaining children of the past who used to watch Kolah Ghermezi twenty years ago as well as children of the present is the main aim, the sitcom stands on the borderline of parody and pastiche. Sometimes it becomes neutral practice and mimicry without the satirical flavor of parody. In this new production of Shakespeare, Tahmasb changes the plot, adds moral lessons and silence the violence as do adapters of Shakespeare's dramas for children. However, many times, the change from tragedy to comedy means to attract the adult audience. Though we see the dialogical tradition of the carnivalesque where animals become human and men become women, the choice of puppet who play Shakespearian characters is highly related to their public persona as being introduced cunning, helpful, or simple minded.

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