In "Metanarrative Characters in Modern Drama", June Schlueter contrasts the metanarrative character with the dramatic character. According to Schlueter, “drama presents a fixed identity, which in real life is a misnomer” (9). Metatheatre differs from traditional theater because metanarrative characters do not have fixed identities. The metanarrative character is twofold; he is both real and illusory, both actor and character. This rift between the real and the illusory extends to incorporate not only the duality of character and actor, but also the duality of the inner and outer self. In Sartre's No Exit, the essential self (which in metatheatre represents the actor) represents the inner self, and the role-playing self (which refers to the character in metatheatre) represents the external self. As the three sinners attempt to determine the right balance between their inner and outer selves, they face an existential crisis common to human nature: the search for an identity. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay In No Exit, this rift between actor and character is evident when Inez asks Garcin and Estelle, “what is the point of acting?” (17). (The characters are already in hell, so what's the point of pretending to be innocent?) Sartre's use of the word “acting” reminds the viewer that the actors play the characters. More importantly, however, the characters in No Exit are dual because of the duality between the inner and outer selves. The inner self refers to the identity characters imagine they have. The external self refers to the identity created by other people. According to Schlueter, “individual identity appears dependent on individual perceptions, and since such perceptions vary between individuals, and even a single individual's perceptions are inconsistent, so too does the individual's identity. the perceived person or character varies” (10-11). The identities of the three sinners in Jean-Paul Sartre's work, No Exit, are faithful to Schlueter's definition - or rather, the lack of identity of these three characters is faithful to Schlueter's definition of the metafictional character. Inez, Estelle and Garcin depend on each other to the point that they are no longer individuals. Inez tries to maintain an independent identity but fails because Garcin judges her. Garcin and Estelle consciously avoid identity; Estelle looks to others to determine her appearance; and Garcin allows others to determine his soul. Inez values ​​her inner self over her outer self. She tells Estelle: “I'm always aware of myself – in my mind. Painfully conscious” (19). He cannot maintain his own identity because he strives to be an individual. She is annoyed that other people see her identity differently than she sees it herself. Her frustration is evident when she accuses Garcin of “stealing” her face. Garcin can see her face, but Inez can't because there are no mirrors. The fact that Inez accuses Garcin of "stealing" leads to the inference that she believes she should judge herself, not be judged by others. Inez's search for an identity is futile. What's the point of trying to maintain your identity if others then control it? Unlike Inez, Estelle and Garcin decide not to maintain their identities. They encourage others to determine their identity for them and therefore place a higher priority on the external self. Estelle does not appreciate the inner self; he says that “everything that goes through your head is so vague, isn't it? It makes you want to sleep” (19-20). She sees herself in accordance with other people's physical image of her. He says, “when I can’t see myself, I start?