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Yum, Jeongmin. “Breaking Up the Boundary of Stage: The Non-Representational Features in Krapp’s Last Tape.” Studies in English Language & Literature. 43.1 (2017): 105-124. Mimesis, the base principle of theatre since Aristotle, lost its ground in the age of modernism. Samuel Beckett, the best playwright in the twentieth century, tried to break existing theatre, subordinating representation system with Antonin Artaud and Luigi Pirandello. Throughout his writing life, Beckett searched for the possibility of non-representational theatre, rejecting realistic stage setting, conflicts among characters and logical plot. In particular, Krapp’s Last Tape was the last play that showed a leading character on the stage and was also located at the center of his change from representational play to non-representational play. Krapp’s Last Tape indicates various features defying the representational principle. This article aims to investigate the non-representational features of each dramatic element in Krapp’s Last Tape by first exploring the non-representational plot composed of the rhythm of movement and stillness. The article then analyzes the fragmented time and audiovisual images. In addition, it highlights the idea that Beckett’s non-representational play ironically represents the diversity of lives. (Chonbuk National University)