Different forms of theatre in Iran can be examined dicussed from different points of view due to their unique characteristics. Meanwhile, Taziyeh, as one of the most well-known Iranian traditional theatres, has significant aspects that provide a wide scope for research. One of the most important features which is less discussed is the active presence of children in this traditional theatre. Some aspects of this presence are as follows: The definition of a child in Taziyeh, The Situation of children in different texts of Taziyeh, the roles that children can accept, the similarities and differences between their performances and other's in the performance, the factors which links the presence of children and the concept of "sacred art" in this type of traditional theatre, and the symbols related to the children. In this research we try to investigate the state of children and related symbols in Taziye in a descriptive-analytical way and we also analyse the relationship between this presence and sacred art, according to the literature. For this target, library sources has been referred to and the obtained information has been analysed qualitatively. Despite the commonalities between children's similitude performance and other Taziyeh actor's, we can list some features that are specific to the presence of children. One of the most obvious features is that the children from the audiences or even a doll, can play Ali Asghar's role. Among the many symbols of Taziyeh, there are symbols like the craddle that are specifically related to the children,and some symbols like the blood, that are considered as common symbols between children and other imitators. In addition to the fact that the features such as place and time and the children's outfit in Taziye _as a sample of the sacred art_, the experience of children's taking part in Ta'ziyeh can also make some new opportunities for the performances which are discussed at the end of the article.