Quiara Alegría Hudes is renowned for her innovative use of theatrical conventions and her creation of characters with meta-identities, particularly within her Latin American community. This article investigates Hudes's theatrical practice in *Water by the Spoonful*, focusing on how she links physical and metaspaces (virtual and metaphysical) to human attitudes and behaviors. It explores how Hudes utilizes stage space, scenery, and character performance to illustrate the shifting identities of characters in response to socio-moral issues and the impact of family, culture, diaspora, and war trauma on their psychological states. Furthermore, it examines how Hudes's personal experiences and cultural traditions have influenced her dramatic ideology and dramaturgy. The central objective is to analyze Hudes's experimentation with meta-identities and spaces to address issues of self-awareness, family, society, and culture within the diaspora. The article uses a metatheatrical approach, focusing on the dynamic relationship between changing settings and evolving characters.

The article draws upon Lionel Abel's concept of metatheatre as a 'play-within-a-play' featuring self-referential characters, emphasizing the interplay between the artificiality and reality of theatre. It also incorporates Andrés Pérez-Simón's view that metatheatre can be achieved by 'laying bare the artistic devices,' as Hudes does by overlapping different settings on stage. William Egginton's notion of metatheatre as an intrinsic part of every play, with its inherent real and imaginary spaces, further informs the analysis. Finally, Roland Barthes' concept of a 'succession of tableaux unified by the artist's single point of view' is used to understand Hudes's unification of different life images within the play.

The article employs an analytical methodology, examining *Water by the Spoonful* through a metatheatrical lens. The play's swift transitions between different settings and spaces justify this approach. The analysis focuses on the intersectional relationship between setting and character, with thematic discussions serving as a secondary consideration. The study considers Hudes's use of magical realism, drawing upon the Southern American literary style, particularly in portraying the characters' interactions with supernatural beings. The analysis examines how Hudes manipulates scenes and settings to highlight the multicultural and multiethnic identities and divergent attitudes of the diasporic American characters. Specific theatrical techniques, such as split scenes and spontaneous transitions between settings, are analyzed to understand their contribution to the overall metatheatrical effect and audience engagement. The article also explores the use of specific theatrical conventions, such as beginning scenes mid-conversation or mid-monologue, to reveal characters' pasts and ongoing psychological dilemmas. The study considers the use of setting, including different types of chairs, to symbolize the various social contexts and locations from which virtual users broadcast online.

The analysis reveals that Hudes's characters in *Water by the Spoonful* are defined by the spaces they inhabit and interact with—the real world, the virtual world of the internet, and a metaphysical space. The characters exhibit meta-identities that shift depending on the space they occupy. Odessa, for instance, presents a stark contrast between her virtual persona as a caring forum administrator and her neglectful behavior in the real world. Elliot grapples with the trauma of war and addiction, finding solace in family and traditional Puerto Rican culture while also pursuing his dreams. Yaz, in contrast, seeks to take over the roles of her deceased aunt Ginny and her mother, navigating both the real and virtual spaces. Mays, a Japanese American, struggles with feelings of displacement and rootlessness in both the real and virtual worlds, ultimately finding her identity through a return to her homeland. Clay, an African American character, confronts his past and present through the lens of racial discrimination and family estrangement, ultimately finding connection with Mays. The use of magical realism, particularly in the depiction of ghosts and spiritual experiences, underscores the importance of cultural beliefs and traditions in shaping the characters' lives. The play highlights the tension between those who embrace virtual relationships and those who prioritize real-world connections and cultural heritage. The Puerto Rican landscape plays a crucial role in the characters' personal transformations, acting as a site for reconciliation, renewal, and the reclaiming of cultural identity. The interplay between the real, virtual, and metaphysical worlds reflects the multifaceted identities of the characters and the complexities of the diasporic experience. The article also highlights how Hudes subtly critiques American foreign policy and its impact on veterans and their families. Finally, the use of language—Spanish interwoven with English—also highlights the characters’ multicultural identities.

The findings reveal Hudes's innovative use of metatheatre to explore the complexities of identity and belonging in the diaspora. By creating overlapping spaces and characters with shifting identities, Hudes challenges traditional theatrical conventions and offers a nuanced portrayal of multicultural experiences. The study's insights contribute to a deeper understanding of Hudes's dramatic techniques and their effectiveness in representing the psychological and emotional challenges faced by diasporic communities. The emphasis on the dynamic relationship between space and identity contributes to the field of performance studies and provides new perspectives on the representation of multiculturalism and the immigrant experience. The findings also suggest the potential for further research into the interplay of space, identity, and technology in contemporary theatre and the uses of magical realism within the diaspora.

This article demonstrates Quiara Alegría Hudes's masterful use of metatheatre in *Water by the Spoonful* to explore complex themes of identity, culture, and the diasporic experience. Hudes’s innovative use of overlapping spaces—real, virtual, and metaphysical—reveals the multifaceted identities of her characters and the ways in which their environment shapes their attitudes and behavior. Future research could explore how Hudes's metatheatrical techniques are employed in her other plays within the Elliot Trilogy and expand the analysis to other works of diasporic literature. Further investigation into the application of magical realism in contemporary dramatic writing would also be beneficial.

The study focuses solely on *Water by the Spoonful*, limiting its scope to a single play. A broader analysis encompassing Hudes's other works could provide a more comprehensive understanding of her theatrical practice. Additionally, a comparative study with other playwrights employing metatheatrical techniques could offer further insights into the unique aspects of Hudes's approach. The interpretation of the play is predominantly based on textual analysis, and future studies could incorporate audience reception and performance analyses to enhance the depth of understanding.