This paper deals with Pinter's Betrayal (1978) as a metatheatre whose self-reflexivity relies on its metacinematic techniques imported from cinematography and film-editing. Apparently Betrayal seems preoccupied with the subject of bourgeois and u ...

This paper deals with Pinter's Betrayal (1978) as a metatheatre whose self-reflexivity relies on its metacinematic techniques imported from cinematography and film-editing. Apparently Betrayal seems preoccupied with the subject of bourgeois and unimaginative infidelities, i.e., betrayals. But the dramatic structure Pinter employs so skillfully here invites us to see beneath the fabric of this play's love affairs 'something else'. This paper argues that the something else is Emma's desire which frustrates the men's Oedipal desires. And it also argues that thanks to the dramatic form, i.e., the metacinematic metatheatrical form the presence of Emma who are excluded from the Oedipal scenario enacted by the working of "triangular desire" (René Girard's term) for her as the object of desire can be revealed and foregrounded.
The metacinematic structure allows Pinter to expose the process of the media through which we can raise some questions on the media and the relationship of desire and media. The temporal disarrangement of the play's metacinematic structure makes us conscious of the mechanism of the theatre which flirts with the working of Emma's desire instead of men's desire. That is, within the metacinematic structure we are lured to watch her performing and shifting the roles of mother/wife/lover (in other words, prostituting her identities as mother, wife, and lover). Her performances can be explained in terms of Judith Butler's masquerading of feminine subjectivity.
Pinter's Betrayal can show that the media of theatre and cinema are no longer separable modes. From Pinter's successful appropriation of cinematic techniques we can find some solutions to current issues on the relationship between media.

1. 여는 말
2. 『배신』의 메타연극/영화적 구조
3. 시간의 배신: 오이디푸스적 욕망의 배신
4. 메타연극적/영화적 구조와 엠마의 수행선(performativity)
5. 엠마의 "가면무도(masquerade)" ...

1. 여는 말
2. 『배신』의 메타연극/영화적 구조
3. 시간의 배신: 오이디푸스적 욕망의 배신
4. 메타연극적/영화적 구조와 엠마의 수행선(performativity)
5. 엠마의 "가면무도(masquerade)"
6. 나가는 말