Luigi Pirandello is one of the greatest creators of the metatheatre. The Italian Nobel Prize winner has tried for years to explore the unclear status of theatrical performances, exposing the paradoxical truths and relations in which the spectacle is implicated. The metatheatrical trilogy of Pirandello includes the following dramas: Six characters in search of an author, Tonight we improvise and Each in his own way. Despite the fact that these texts put emphasis on various aspects of the same problem, they constitute an extremely coherent and – most importantly – up-to-date reflection on the nature of the medium they represent. The action of these dramas take place within a microcosm of indefinite boundaries and its fiction, contrary to accepted conventions, blends into the real world, blurring the border between art and life, imitation and original, truth and falsehood. The author of the article investigates the metatheatrical experiments of the Sicilian master in the three above-mentioned dramas, demonstrating how Pirandellian games with theatre’s conventions and stage illusion changes (broadens) the understanding of the theatrical spectacle and stage fiction.