Originally set in post-World War II Russia, Bertolt Brecht’s The Caucasian Chalk Circle is celebrated for its layered storytelling, ‘play within a play’ structure, and bold political commentary. In a striking new adaptation, Canopy Theatre reimagines this classic, shifting the central conflict from a Cold War era land dispute to a contested graveyard in India.
In Brecht’s original, the narrative revolves around a disputed piece of land and an abandoned child. In the regional adaptation, the land becomes a graveyard that has been used by a local community for generations, though without any official documentation. When a corporate group arrives with plans for development, tensions erupt. “This graveyard is part of the community’s identity, but because there’s no paperwork, someone else tries to claim it,” says Vignesh Jayakrishnan, the director.
The play retains its essential arc: amid political upheaval, a child is left behind by a fleeing aristocrat and is raised by a servant who risks everything to protect him. “In our version, her journey unfolds across settings like a milk shop, a roadside shelter, and the servant’s native village, each location reflects how society views a young woman traveling alone with a child,” says Vignesh. Years later, the biological mother returns, motivated by inheritance. The dispute culminates in the iconic “chalk circle” test, where the woman who refuses to hurt the child is deemed the true mother.
Staying true to Brecht’s epic theatre style, the production avoids sentimentality and uses alienation techniques to encourage critical distance. Actors take on multiple roles, characters are shared across performers, and the play is staged with minimal props and live music. Visually, the set is constructed entirely from cloth. “The material is symbolic, flexible, and abstract, it allows us to express space and emotion without realism,” notes Vignesh. The music plays a central role, too. Composed from Brecht’s own poems translated into Telugu; the songs underscore the political themes of the play. “Brecht used music to interrupt emotion and spark thought. We’re continuing that tradition,” he adds.
The intention of the play is clear, it’s not aiming for a feel-good ending or emotional resolution. Instead, the director wants the audience to leave unsettled. “I don’t want the audience to leave being happy that this girl got the baby, they should be engaged in thought, not comforted by closure,” Vignesh concludes.
Tickets at INR 300.
July 18 & 20, 7 pm.
At Rangbhoomi, Serilingampalle.
Email: anshula.u@newindianexpress.com
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