法國荒謬劇作家貝克特（Samuel Beckett)的作品中無具體的場景及真切的 心理刻畫，劇中角色對話中大多無真實意涵，而故事情節處於一種封閉卻又不斷 循環的氛圍，還不時穿插如影像學中蒙太奇的手法。本硏究旨在探討兩齣戲劇文 本中層層交疊且營造如迷宮般「戲中戲」的敘事模式。

The literary style of Samuel Beckett is contrasted with the realist style: in his work, places are not always mentioned, and there is only a little introspection from the characters. In this work, we aim to analyze the specific functions of some stage directions in his two plays, the meta-characteristic of discourse and dialogue which compose the double enunciation effect. In the last part of this research, we will try to explore Beckett’s narrative forms by quoting some passages of monologues and soliloquies in the text.