本篇論文試圖運用那維納斯(Emmanuel Levinas)有關主體性(ethical subjectivity)的討論作為理論架構，分析貝克特(Samuel Beckett)在劇場表演的實驗方面的成就與詮釋劇作家最喜愛的作品《遊戲終局》(Endgame)。自我與他者的關係在那維納斯與貝克特的作品中，均呈現出相互倚賴卻又決然分離的矛盾關係。然而，兩位作者在作品中所勾勒出的主體性乃根植於這層矛盾的關係中。論文第一章討論貝克特在面對戲劇表演時，對表演本身所帶來的不確定感，以及在這不穩定感中所引發的懼怕與慾望，都看作是對劇作家自己、表演者、與觀眾的主體性的挑戰。在本章節裡，那維納斯對於自我與他者所提及的非對稱關係幫助我們對貝克特的創作態度及其要求的劇場表現有更深一層的認識。第二章進一步闡述那維納斯非對稱的自我與他者的關係中，關於肉體、死亡、及時間的概念。以日漸衰老的肉身，來說明時間並非線性的發展，而是記憶永不復返的痕跡；老朽(senescence)即是自我與他人關係的見證，也是主體性存在的必然條件。第三章以第一章討論的劇作家的獨特表演模式，加以第二章對於主體性的討論，來探討《遊戲終局》中角色彼此間的互動。這些角色被賦予一種限制性的自由，其實就是自我與他人關係的呈現。結論以非對稱的自我與他人關係作為貫穿貝克特的戲劇表演與劇本詮釋的中心概念，指出貝克特作為一位創作者，對於他的作品、表演者、觀眾、與讀者，他如何回應創作過程中遭逢之挑戰以及如何履踐他的責任。

Abstract
This thesis aims to give a more comprehensive picture of Beckett through the theoretical framework of Levinas’s ethical subjectivity rooted in the relation of the Same and the Other. The thesis concerns two aspects that are involved in the playwright’s theatrical performance and in the textual performance of Endgame. Akin to Levinas’s notion of ethical subjectivity, Beckett’s formation of subjectivity shows the respect for the unknowable otherness as well. They both think that the subjectivity is founded on the relation between the self and the Other that is mutually reliant and absolutely alienated. Chapter One seeks to prove that Beckett, through Levinas’s view of ethical subjectivity, redefines the notion of subjectivity by venturing on an experiment on the performance that gravely challenges the director, the actor and the spectator who get enmeshed in and struggle with the unknowable otherness happening on stage. Chapter Two further elaborates Levinas’s notion of the bodily sensibility as a moral exigency. In the form of incarnation, the mortal being implies an immemorial traumatization before the function of consciousness and is imparted with an infinite ethical responsibility for the Other, which is tantamount to the manifestation of Saying, the ethical language. Chapter Three examines Endgame as a self-contradictory text in which the otherness is betrayed. This chapter focuses on the intersubjective relation between the characters that solicits something new to unfurl the text as an ethical expression in Levinasian way. In the final chapter, we may reach a conclusion that the living force of Beckett’s theatre relies on the asymmetrical structure between the self and the Other that intensifies the poignant self-awareness stirred by watching the performance and reading the text. And this is how Beckett responds to the calling of the artistic expression of theatre.

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