Theater has always been performed based on live, face-to-face communication with the audience until the arrival of television and the creation of a format called teletheater, the direction of production in this field changed in relation to television rules. The growth of technology and the multiplicity of dramatic formats in the late twentieth century reduced the importance of this type of television programming in the world. However, the entry into the post-television era, the increase in media convergence, changes in network broadcasting, and most importantly, the closure of movie theaters during the Corona pandemic, led to the revival of television theater with new rules and the reception of the audience. The research question is: how and with which new theater components have theaters produced in the context of Internet television and new media been presented to audiences? Using qualitative content analysis, this study examines selected teletheaters from the IRIB, UK, Poland, and the US (2019-2023) and seeks to identify the effective components of teletheater in the media formed in the post-television era. Based on the findings, three main approaches to teletheater in this era have been formed depending on the inherent and new characteristics of the media and their different audiences: 1- Teletheaters recreated in the studio with visual and digital tools, 2- Theaters produced for cinema; and 3- Live and non-live recording of stage theaters. In this study and continuing to identify these approaches, the most important effective components of teletheater in the post-television era have been explained in two areas: content and form. Visual narrative of the play, attention to the camera, virtual pause and sharing, television technical knowledge, close-up photography, visual effects, and theatrical/television acting are among the characteristics of teletheater in this era.