Caucasian Chalk Circle: relationships between performers and audience

Performer-Audience Relationship

Alienation effect: The play employs Brecht’s principle of ‘Verfremdungseffekt’, also known as alienation or distancing effect. This is intended to prevent the audience from becoming emotionally attached to the characters or narrative, and instead encourages them to think objectively and critically about the issues being portrayed on stage.
Breaking the fourth wall: This refers to the explicit acknowledgement of the audience’s presence during the performance. It destroys the illusion of the ‘fourth wall’ that traditionally separates performers from audience, and is often used by the characters to deliver commentary or solicit the audience’s opinions.
Direct address: Characters in the play sometimes speak directly to the audience and share their thoughts, feelings, or intentions. This not only keeps the audience engaged, but also provides additional information about the characters and the story.

Narration as a tool for audience engagement: The use of a narrator helps guide the audience throughout complex, non-linear narrative, and provides cues for interpreting the events on stage. The narrator often addresses the audience directly, creating a rapport.
Songs as integral elements of the play: The songs in ‘The Caucasian Chalk Circle’ provide the audience with insight into the themes and morals of the story. They are used both to propel the narrative and to communicate deeper meanings to the audience.
Use of music: Music in the play often serves as an additional tool for audience engagement. It can set the mood, provide context, or enhance the emotional impact of a scene.

Multiple roles: Many of the actors in The Caucasian Chalk Circle have to play more than one role, with swift and exaggerated changes of character. This not only challenges the performers’ versatility, but also emphasizes the artificiality of the performance to the audience.
Characterisation: Brecht preferred the actors to present their character rather than become their character. This creates a distance between the audience and the characters, helping the audience to remain objective.

Epic theatre staging: The staging in The Caucasian Chalk Circle is typical of epic theatre. It’s not meant to create a realistic setting or convince the audience of the narrative’s actuality, but to reinforce the message of the play.
Stage design: The stage design is often sparse, abstract or representational, and requires creative use of props and set pieces to depict different locations, with the changes usually visible to the audience, further reinforcing the artificiality of the play.