In “Metafictional Characters in Modern Drama”, June Schlueter contrasts the metafictional character with the dramatic character. According to Schlueter, “theater presents a fixed identity, which in real life is a misnomer” (9). Metatheater differs from traditional theater because the metafictional characters do not have a fixed identity. The metafictional character is twofold; he is both real and illusory, both actor and character. This gap between real and illusory expands 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 the metatheater represents the actor) represents the inner self, and the role-playing self (which refers to the character in the metatheatre) represents the outer 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 identity. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Shouldn't Be Banned”?Get the original essay In No Exit, this gap between actor and character is evident when Inez asks Garcin and Estelle, “what is the point? Is there any point in playing the role? (17). (The characters are already in hell, so what's the point of pretending to be innocent?) Sartre's use of the word "play" reminds the viewer that the actors are playing the characters. But more importantly, the characters in No Exit are dual because of the duality between the inner self and the outer self. The inner self refers to the identity that the characters imagine themselves to have. The outer self refers to the identity created by other people. According to Schlueter, “Individual identity seems to depend on individual perceptions, and since these perceptions vary among individuals, and even the perceptions of a single individual are inconsistent, so is the individual's identity. the perceived person or character varies” (10-11). The identities of the three sinners in Jean-Paul Sartre's play, 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 of no longer being individuals. Inez strives to maintain an independent identity but cannot do so 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 am always aware of myself – in my mind. Painfully conscious” (19). She cannot maintain her own identity because she strives to be an individual. She is bothered by the fact that other people perceive her identity differently from hers. Her frustration is evident when she accuses Garcin of "stealing" her face. Garcin can see his face, but Inez cannot because there are no mirrors. The fact that Inez accuses Garcin of "stealing" suggests that she believes she is supposed to judge herself and not be judged by others. Inez's quest for identity is in vain. What's the point of trying to maintain your own identity if others control it anyway? Unlike Inez, Estelle and Garcin decide not to maintain their own identity. They encourage others to determine their identity for them and thus give greater priority to the outer self. Estelle lacks appreciation for her inner self; she says that “everything that happens in the head?