NORTHBURY PARK SECONDARY SCHOOL

DRAMATIC ARTS

EPIC THEATRE
THE CAUCACIAN CHALK CIRCLE

TERM 1

WHAT IS EPIC THEATRE?

Epic theatre is a style of theatre developed mainly by Bertolt Brecht. Its
purpose is not to make the audience feel emotional or get lost in the

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story, instead, Epic theatre wants the audience to think, question
society and take action.

THE AIMS OF EPIC THEATRE:

 To educate the audience.

 To make them think critically.
 To encourage social change.

BACKGROUND OF EPIC THEATRE:

Bertolt Brecht: Biography

Early Life
Born: 10 February 1898

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Place: Augsburg, Germany

Brecht grew up in a middle-class family. His father worked in a paper

factory. From a young age, Brecht was sharp-minded, politically aware,
and loved writing poetry.

Education and Early Writing

Brecht studied medicine briefly during World War I, but he never stopped
writing. Even as a medical assistant in military hospitals, he was disturbed
by the suffering he saw, and this later shaped his anti-war and anti-
authority ideas.

Rise as a Playwright

In the 1920s, he moved to Berlin — the heart of German theatre.

This is where he:

Developed his Epic Theatre ideas,

Collaborated with actors and directors,

and started experimenting with a new style of theatre that pushed

audiences to think rather than simply feel.

His early plays include:

Baal

Drums in the Night

Man Equals Man

Epic Theatre and Theoretical Work

Brecht created Epic Theatre, a style that uses techniques like:

Breaking the fourth wall,

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Direct address to the audience,

Visible scene changes,

Narration,

and strong social messages.

He wanted people to question society, power, and injustice. He also wrote

important theoretical essays on theatre, such as “Theatre for Pleasure or
Theatre for Instruction.”

Exile During the Nazi Era

When the Nazis came to power in 1933, Brecht’s political views and anti-
fascist stance made him a target. He fled Germany and spent about 14
years in exile, moving through:

Denmark

Finland

The United States

During this time he wrote some of his most famous works, including:

Mother Courage and Her Children

The Life of Galileo

The Good Person of Szechwan

Return to Europe

After World War II, Brecht returned to Europe but chose to settle in East
Berlin. He founded the Berliner Ensemble with his wife, the actress Helene
Weigel.

This theatre company became world-famous for its production style and
Brechtian techniques.

Later Years and Death

Brecht continued writing, directing, and teaching until his death.

Died: 14 August 1956

Place: Berlin, Germany

He left behind a powerful legacy: a completely new way of thinking about

theatre.

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His Legacy

Today, Brecht is considered one of the most influential theatre

practitioners of the 20th century.

His ideas are central to Drama studies worldwide.

WHY IS BERTOLT BRECHT IMPORTANT?

1. He shifted theatre from emotional entertainment to social thinking

Before Brecht, most theatre aimed to make the audience feel — sadness,
love, fear, excitement.

Brecht looked at the world around him (war, poverty, injustice) and said:

“Feeling is not enough. People must think and question society.”

This was revolutionary.

2. He created Epic Theatre

Epic Theatre wasn’t just a style — it was a new purpose for theatre.

He wanted audiences to stay alert, analyse, and leave the theatre ready
to challenge real-world problems.

This influence is still alive today in:

Political theatre

Documentary theatre

Protest art

Educational drama

3. He introduced new techniques that reshaped modern performance

Many of his ideas are now normal in theatre and film.

For example:

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Breaking the fourth wall

Direct address

Minimal sets

Visible backstage work

Actors switching characters

Narration inside scenes

These ideas helped artists realise they didn’t need to “pretend reality” —
they could comment on it.

QUESTIONS

1. What is the main purpose of Epic Theatre?

2. Who developed Epic Theatre?

3. How does Epic Theatre want the audience to respond, compared to

traditional theatre?

4. Why does Epic Theatre avoid making the audience feel emotional or
“lost” in the story?

5. What are two aims of Epic Theatre?

6. How does Epic Theatre encourage the audience to think critically?

7. What is one-way Epic Theatre tries to motivate social change?

8. In your own words, explain how Epic Theatre is different from realistic
or dramatic theatre.

9. Why do you think Brecht believed theatre should educate the audience?

10. How might an Epic Theatre production make the audience question
society?

BERTOLT BRECHT TECHNIQUES

Epic Theatre techniques are methods developed by Bertolt Brecht to stop

audiences from getting emotionally absorbed in a play and instead make
them think critically about social and political issues.

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Core Techniques of Epic Theatre

 Coming out of role: Commenting upon a character as an actor is a

perfect way of reminding the audience of theatricality. For example,
midway through a heightened scene, the action might break for the
actor to comment upon their character in the third person.

 Multi – media: Multi-media or PowerPoint slideshows can also be

used for this effect. For example, the musical, Miss Saigon, used a
slideshow to demonstrate the loss of lives in the Vietnam War, was
highly effective.

 Direct Address
Speaking directly to the audience breaks the fourth wall and
destroys any illusion of reality. An example would be the moment
where Grusha pleads to save baby Michael in The Caucasian
 Chalk Circle by Brecht: I brought him up; shall I also tear him to bits?
I can’t.
 Speaking The Stage Directions
This device was used by Brecht more frequently in rehearsal than in
performance. It helps distance the actor from the character they are
playing. It also reminds the audience that they are watching a play
and forces them to study the actions of a character in objective
detail.
 Narration
Narration is used to remind the audience that what they are
watching is a presentation of a story. Sometimes the narrator will
tell us what happens in the story before it has happened. This is an
effective way of making sure that we do not become emotionally
involved in the action to come, as we already know the outcome.
 Using Placards
A placard is a sign or additional piece of written information
presented onstage. Using placards might be as simple as holding up
a card or banner. What is important is that the information doesn’t
just comment upon the action but deepens our understanding of it.
For example, a married couple are arguing, and the wife is terribly
upset. If the actress held up a placard saying ‘I’m miserable’, that
would not tell us anything about the character that we didn’t
already know.
However, if her placard said ‘I’m having an affair’ or ‘I’ve never
loved him’ the audience would be
forced to consider other aspects of their relationship and to think
about deeper reasons behind

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 her tears.

Why These Techniques Matter

 They disrupt emotional immersion so audiences don’t just

sympathize with characters but analyze the bigger issues.
 They encourage critical thinking about society, politics, and human
behavior.
 They transform theatre into a tool for social change, aligning with
Brecht’s belief that drama should inspire reflection and action.

Comparison table showing how Epic Theatre (Brechtian style)

differs from Traditional Theatre (like Aristotelian drama or
realism).

Aspect Epic Theatre Traditional Theatre

Purpose Encourages critical thinking about Creates emotional
social/political issues. involvement and
empathy with
characters.

Structure Episodic scenes, loosely connected. Linear plot with clear

beginning, middle,
end.

Audience Observers and analysts, asked to Emotionally immersed,

role reflect asked to suspend
disbelief.

Acting Demonstrative: actors show rather Naturalistic: actors

style than fully “become” characters. aim for realistic
portrayal.

Stage Minimal and symbolic, with visible Detailed and realistic,

design mechanics. hides theatrical
illusion.

Technique Alienation effect, placards, direct Illusion-building,

s address, songs, gestus. continuity, emotional
climax.

Music Commentary tool to provoke Emotional

thought. enhancement to
heighten mood.
Outcome Audience leaves questioning Audience leaves
society and politics. moved by the story
and characters
BRECHT STAGING

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1. Multiple Roles

This occurs when an actor plays more than one character onstage. The
differences in character are marked by changing voice, movement,
gesture, and body language, but the audience can clearly see that the
same actor has taken on more than one role. This means the audience are
more aware of the fact that they are watching a presentation of events.
Cross-gender casting is also possible in Epic theatre, as we do not need to
suspend our disbelief.

2. Split-Role

This is where more than one actor plays the same character. For instance,
the actor playing the main character might rotate from scene to scene.

This keeps that character representational and inhibits emotional

involvement and attachment on the part of the audience.

3. Minimal Set / Costume / Props

Set, costume and props are all kept simple and representational.
Elaborate costumes might mean that the sense of theatre, of pretending
to be something else, was lost. Brecht did believe in
historicism/Historification as a convention of Verfremdungseffekt.
Although mise-en-scène or the stage setting was minimal, there was
always a sense of authenticity to production elements, apart from a little
sound and lighting.

4. Symbolic Props

Often, one item can be used in a variety of ways. A suitcase might

become a desk, or a car door or a bomb.

5. Lighting

Brecht believed in keeping lighting simple as he did not want the

production values to overshadow the message of the work. He believed in
using harsh white light, as this illuminates the truth. However, many
modern productions do use lighting effects. The important thing is that
the audience still sees the theatre, so often they will see production
personnel, such as backstage crew, in action on the stage rather than
hidden.

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OTHER BRECHTIAN DEVICES

1. Song and Dance

This is an effective way to ensure that the audience sees the theatre and
is reminded of the fact that they are watching a play. Often in Brechtian
theatre, the style of the music and the lyrics jar; they do not seem to fit
together in style. This distances the audience further.

2. Montage

Is a term that we would more readily associate with cinema. Brecht

consciously borrowed the idea from silent movies. A montage is a series of
short, self-contained scenes grouped immediately after each other whose
juxtaposition or contrast highlights the important issues with absolute
clarity. This idea of separate scenes also allows for a focus on minute
details if the situation of the play demands it.

BRECHTIAN TECHNIQUES AS A STIMULUS FOR DEVISED WORK

You might choose to adopt Brechtian techniques because you have been
told that you must exploit the ideas of a major practitioner in your work.

There are several elements you should consider if you are going to create
a piece in this style:

● The narration needs to be told in a montage style.

● Techniques to break down the fourth wall, making the audience directly
conscious of the fact that they are watching a play.

● Use of a narrator. Because this character is outside the character

framework, they change the relationship with the audience.

● Songs and dances are likely to provoke a more objective viewing,

particularly if what you’re watching is serious and not the schmaltzy
environment of a typical musical.

● Use of technology. If you project ideas onto a screen in a slide show or

even have a still image there throughout each scene, it makes the
audience analyse more thoroughly.

● Use of signs. If an actor starts each scene with a placard naming the
scene, or you have a board which is changed at the start of each scene,
you are reminding the audience about the fact that they are watching a
play. Use of freeze frames/tableaus. This is obviously unnatural in the
simple sense of that word and should make the audience think about the
frozen

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 PLAY TEXT
THE CAUCASIAN CHALK CIRCLE

STUDY GUIDE
GRADE 12 – TERM 1

Background of The Caucasian Chalk Circle

1. Author:
 Written by Bertolt Brecht, a German playwright and theorist.

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  Brecht was a leading figure in Epic Theatre, which aimed to provoke critical thinking
rather than emotional absorption.

2. Time and Place:

 Written in 1944 while Brecht was in exile in the United States during World War II.
 First performed in 1948 in Zurich, Switzerland.

3. Source of the Story:

 The play is an adaptation of a Chinese story from the Yuan Dynasty, called The
Chalk Circle, which Brecht discovered in the collection of stories by the German
author Klabund.
 The story was further influenced by themes of justice, social inequality, and
morality.

4. Context and Themes:

 Written during a time of political upheaval and war, reflecting Brecht’s concern with
social justice and the responsibility of rulers and the wealthy.
 Explores ideas of ownership, justice, and the welfare of the common people, rather
than legal or emotional arguments.

Central question: Who is the “true” mother—the one with biological ties, or the one who
nurtures and protects a child?

5. Brecht’s Epic Theatre Approach in the Play:

 Uses Verfremdungseffekt (alienation effect) to prevent audiences from getting

emotionally absorbed, encouraging them to think about the moral and social
questions.
 Incorporates choruses, songs, narration, and direct commentary to emphasize the
social and political message.

The story is framed as a play-within-a-play, which creates a sense of theatrical distance.

6. Social and Political Significance:

Critiques the abuse of power, corruption, and inequality.

Celebrates common people, fairness, and practical wisdom over inherited privilege.

Reflects Brecht’s Marxist beliefs, focusing on social justice and collective responsibility.

THE STRUCTURE OF THE PLAY:

Division of the Play:

 The play has a prologue (introduction) and 5 main scenes.

 Sometimes the prologue is counted as Scene 1, making six scenes in total.

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Self-Contained Scenes:

 Each scene can stand on its own, like a mini play.

 The scenes don’t flow naturally into one another and don’t build suspense for the next
scene.
 This means the audience focuses on the message of each scene, not just the story.

Circular Structure:

 The play is circular, meaning the ending connects back to the beginning.
 The prologue sets up the historical background so that the audience understands the
rest of the play.

Role of the Singer:

 The Singer appears to remind the audience, “This is a play!”

 This prevents the audience from becoming too emotionally involved in the story.

Purpose – Alienation Effect:

 All these techniques (self-contained scenes, circular structure, and the Singer) are part
of Brecht’s alienation effect.
 The goal is for the audience to think critically about the story and its social messages
instead of just feeling emotions for the characters.

THEMES

In the play, The Caucasian Chalk Circle, some of the major themes that Brecht
addresses are:

 Abuse of power Greed / materialism

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  Selflessness Social class inequality
 Justice Betrayal
 Political and social turbulence Deceit, hypocrisy and religiosity
 Conflict / antagonism Love
 Irresponsibility Class Warfare

Communism and Capitalism

This theme was referred to earlier when discussing the Prologue. It would be worth
discussing this further when considering the story of Grusha and the chalk circle. The
Caucasian Chalk Circle is a political play about the complexities of making decisions, the
precarious validity of the law, and humans’ behavior toward their fellows. Bertolt Brecht has
the Singer sum up the meaning of the play in the song at the end: Take note what men of old
concluded That what there is shall belong to those who are good for it, Children to the
maternal, that they prosper; Carts to good drivers, that they are driven well; The valley to the
waterers, that it yield fruit.

Ownership and belonging

The questions asked in the play are - who does the land rightly belong to? Those
who have lived there for a length of time, or those who can make good use of it.
In the same way, the question is asked – who does the child rightly belong to?
The one who gave birth to the child, or the one who cared for him and brought
him up?

Motherhood

Does one become a mother simply by giving birth or is it the act of caring and
raising a child that makes a mother. In the pivotal scene, Azdak rules in favour of
Grusha as Michael’s true mother, which sends a clear message from Brecht
about the importance of love and care in society.

Corruption

All the politicians in the play are obsessed with power, including the governor,
the grand duke and fat prince. Each strives to gain more power through literally
cutting down and killing their fellow man.

Throughout all this violence, characters pay each other off, using money as a
means of corrupting humanity and morality.

Greed

For Brecht, a staunch socialist, greed is the root of all evil, a belief he presents
throughout the play. Greed is arguably the corrupting force from its politicians to
its justice systems, to its mothers.

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Justice

Brecht uses the character of Azdak to illustrate this theme. Although he regularly
accepts bribes from wealthy plaintiffs, he almost always rules in favour of the
poor. – or at least in favour of serving justice. Azdak’s “radical” approach to
justice and to ensuring that the voices of the poor and downtrodden are not
erased in favour of appeasing the rich earns him great renown.

THE CHARACTERS

There is a long list of characters in this play, but the central characters are the
following:

• The Singer – the narrator

• Grusha – a household maid to the Governor’s wife

• Simon – a soldier

• Azdak – a judge

• Shauva – a policeman who becomes Azdak’s assistant after Azdak is made

judge

• Natella Abashvili – the Governor’s wife.

Two of these central characters are important to the message of the play,
namely Grusha and Azdak.

Grusha

The young maid servant, is at the heart of the story and can be described as the
main character of the play. She represents the good people in society and some
of her character traits are loving and caring, courageous, determined and

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decisive. Any actress taking on this role must realize that Grusha’s character
develops from being an immature and naïve girl at the beginning of the play to a
responsible young woman at the end. This comes about as a result of the
emotional journey she undertakes to protect the child. The actress should use
her face, body movements and voice to convey the different emotions her
character experiences. Through the character of Grusha, Brecht shows that
people who make sacrifices will be rewarded and the tide changes in their
favour. Because of her courage and sacrifice, she transforms into the mother of
the child and her love for Simon is also rewarded. Task Choose a scene and look
at how you would communicate the character, focusing on vocal choices.

Azdak

The village ‘scrivener’ or scribe and was an honest man, except for the times he
would be accused of stealing the Fat Prince’s rabbits. He is introduced by the
Singer at the beginning of scene 4: Hear the story of the Judge How he turned
judge, how he passed judgment, what kind of Judge he was. On that Easter
Sunday of the great revolt, when the Grand

Duke was overthrown and his Governor Avbashwili, father of our child, lost his
head The Village Scrivener Azdak found a fugitive in the woods and hid him in his
hut. The fugitive was the Grand Duke himself, and without knowing it, Azdak
helps him and saves his life. Azdak is upset at being a traitor and repents and
goes to seek justice. Instead, he ends up becoming a Judge and it is he who
decides in favour of Grusha in the chalk circle.

Azdak can be considered a trickster figure who turns the law upside down. He,
like Grusha, risks his life to make a difference.

Through his character and his actions Brecht once again suggests that this is
how justice will come. Once again, an actor taking on this role has the challenge
to show how Azdak develops from a disreputable figure to be the ‘wise’ judge at
the end.

Natella Abashvili

Natella Abashvili is another central character in the play and is a challenge to

any actress portraying her. She is the selfish wife of the Governor, who leaves
her baby Michael behind, caring more about packing her dresses than saving her
child. After the civil war, she tries to get Michael back in order to reclaim the
Governor’s estates. As a character she is used to highlight some of the major
themes in the play, namely justice, family, class warfare and religion. For an
actress portraying her, the character traits are selfishness, self-concern, jealousy
and meanness. She repeatedly abuses the poor and shows no concern for the
less fortunate.

Simon Chachava

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Simon Chachava is the soldier who falls in love with Grusha, and she promises to
marry him when he returns from the war. However, she is forced to marry
another man, Jussup, before Simon returns.

Thanks to Azdak, who mistakenly annuls Grusha’s marriage, Simon and Grusha
are allowed to marry after all. Simon adopts Michael as his own son. In
accordance with Brechtian techniques,actors will play more than one role. This
was frequently used and served to remind the audience that the characters were
in fact played by ‘actors in role’.

STAGING

Set

● A constructivist set is often used for Epic Theatre.

● This set consisted of platforms, catwalks and steps.

● Brecht used the set symbolically, for example a bridge may be made from
planks of wood between scaffolding.

● No curtain would be used.

● Wires and other mechanical aspects of theatre were also visible to the
audience.

● The source of the music can also be visible, sometimes by placing the
musicians on the stage itself.

● The set should suggest location rather than creating the illusion of a particular
place.

● Sets were simple and symbolic.

● Projected titles, signs and placards would identify scenes or even give
instructions to the audience (from “drums in the night” – ‘don’t stare so
romantically’).

COSTUME

● All of the characters might be dressed in black rather than individually

costumed.

● The author can make characters introduce themselves directly to the audience
or flash their

names onto a screen.

● Costumes in Epic Theatre are in stark contrast to the detailed costume’s used
for

Naturalistic theatre.

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● Costumes are symbolic in many cases, for example a policeman that may
represent a policeman.

For example, Grusha from Caucasian Chalk Circle would be dressed simply,
nothing luxurious or fancy, this clearly shows how she is representative of the
‘good, simple working class’.

LIGHTING

The plays were performed with the house lights on so that the audience
remainedaware of each other during the performance.

The stage must be bathed in lights and auditorium lights kept on. Brecht insisted
that the sources of light should remain visible to the public; in fact, no
technology would be hidden from the view of the audience.

ACTING STYLE

Gestus

physical gesture and "gist" or attitude. Gestus reveals a specific aspect of a

character rather than his metaphysical, subconscious or other psychological
dimensions. A Gestus makes visible a character's social relations and the cause
of his behaviour.

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