초록 열기/닫기 버튼
This thesis examines how meta-modes can be commonly applied to drama and painting, especially in the works of Samuel Beckett and Velázquez. Several essential meta-dramatic or meta-artistic qualities are summed up as theatrum mundi, play-within-play (painting-within-painting), self-reflexivity, and mise-en-abyme. In Beckett’s Waiting for Godot and Endgame, the structure of the play reflects the play itself, its protagonists sing a song or tell a story that repeats endlessly, and the act of waiting or story-telling reminds the audience of the process how a play itself is made, all of which serve as successful meta-dramatic effects. These meta-dramatic approaches are proven as very effective keys to analyzing the paintings of Velázquez. The baroque artist utilizes a mirror as mise-en-abyme and intertextuality to strengthen his theme in “Venus at Her Mirror” and in “The Spinners”, finally completing his meta-artistic premise, theatrum mundi in “Las Leminas.”
