Abstract
This paper examines the application of the ‘framing’ technique by
Dario Fo in his play Trumpets and Raspberries so as to extend the
definition and concept of metadrama beyond a self-conscious exposure
of theatricality. A variety of frames expose camouflaged power systems
forming the ideological bases of representation. This takes place
through two stages in Fo’s play: firstly the voluntary destruction of
dramatic illusion, and secondly the exposure of the unconscious and
paradoxical theatricality of reality.
