Magic Realism is a modern fiction style. Although it  invokes  a  South  American's  name  and  Gabriel  Garsia  Markez, specially, it  is  typical of  the third  world  nations. In fictions of this style, reality and fantasy tie together but in the manner that reality dominates fantasy rather than the other way around. Among Persian novelists, Qolamhossein Saedi is inclined to this style in his fictions. It is possible to divide Saedi 's fictions  into  two  groups: The  first  one, fictions  that  have  been written  in  Magic  Realism  style. The second one, fictions in which only traces of Magic Realism can be found. In this article, both  groups  of fictions and the rational why Saedi followed this style will be  discussed.  

Brecht is a theoretician of theater who considers his theater as non-Aristotelian and introduces his theater as epic theater. His purpose is not to arouse the sympathy of the audiences, but he wants to prevent audiences from satisfactorily accepting the world. He uses some techniques for achieving this goal, one of the most important of which is distancing. By creating strange characters, he prevents his audience from sympathizing with the actor. Saedi was also a dramatist and Choob be dasthay-e varzil, Aye ba kolah, aye bi kolah, and Parvar bandan were among his dramas. He was familiar with the techniques of the theater and we can see the effect of drama on his works, too. The authors seek to examine the technique of distancing in the events, the strange characters and social problems of Khanehay-e Shahre Rey by Gholam Hossein Saedi. The results of this study show that the writer tries to make the audience think and change by showing the thought patterns of this city (Rey), the social formation, values, customs, and the psychological and moral construction of the montage-like characters of a grotesque story