Modalities and Functions of Metatheatre in Bertolt Brecht’s The Caucasian Chalk Circle

Abstract

The general purpose of this paper is to analyze the metatheatrical characteristics of Bertolt Brecht’s play The Caucasian Chalk Circle (1945). In order to account for the different modalities of metatheatre, we consider theoretical and critical postulates developed by literary criticism, especially the contributions of Georges Forestier (1996) and Alfredo Hermenegildo (1999).

We approach Brecht’s text through an analysis of those components that make possible self-reflection and the exhibition of the artificiality inherent in all theatrical representation. To achieve this initial purpose, our study focuses primarily on the use of two relevant devices: the play within the play and the mise en abyme, which we evaluate as the main metatheatrical elements that configure the entire work.

Finally, we offer some brief conclusions on the functioning of these metatheatrical characteristics in light of Bertolt Brecht’s own theorization of epic theatre. We especially emphasize the way in which the metatheatrical strategies selected for analysis in this article contribute to fostering a dialectical and critical relationship between the spectator and the theatrical performance offered by The Caucasian Chalk Circle.