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Metadramatic Strategies in Samuel Beckett's EndgamePyon, Hyong Taek This thesis focuses on the ways in which Samuel Beckett embodies his authorial self-consciousness in metadramatic forms and how he develops these metadramatic strategies through dramatic devices and language in his early plays, especially in Endgame. For this analysis, this study traces how Beckett reflects the interrelationship among actors, audience and author.Throughout Beckett's literary career, one obvious feature in which he has continuously expressed interest is his self-consciousness concerning drama itself. This self-consciousness, though only intermittently expressed, vividly works as considerations of and comments upon literary as well as artistic form in most of his plays. As is seen in his comment on James Joyce that Joyce's writings "are not about something but something itself," Beckett's self-consciousness brings about direct interaction and communication between stage and audience, and hence becomes self-reflective.Such self-reflectivity is very significant in that it is a challenge to the traditional representation, and, Endgame, in its exploration of drama itself or the dramatic genre, takes on metadramatic features. As an essential solution to the fundamental dilemma of artistic creation, Beckett draws into his play self-reflexive forms that reflect the process of dramatic productions. To achieve this aim Beckett utilizes the metadramatic strategies replicating the interrelationship among actors, theater and author through the hero's chronicle in play-within-a-play form and through the intentional distortion of time as well as space on stage.
