Abstract: This study analyses the way in which, towards the end of the 1920s, metatheatricality in Claudelian theatre became more marked, particularly through the introduction of characters (or collective characters such as choirs) who interrupt the action and disrupt the performance, instilling a power of disorder, indiscipline and improvisation. The "primitivity" of Claudelian theatre is therefore approached here from a perspective that is more dynamic than thematic.
