第一章討論的是惹內運用劇中劇的形式，來凸顯他的劇作是經由人為精心策劃的這個事實。他更認為所謂的真實，也和虛幻一樣，是人建構出來的東西。第二章則是關於作者如何以後現代諧擬的手法，打破他劇作的虛構性，刻意使觀眾察覺幕後製作技巧的運作方式。第三章要談論的是他劇作所展現出的不定性及流動性。第四章旨在指出他劇中人物主體性的定義，是基於他們角色的不同，和他們相互間的差異性。本章並且探討作者如何以二元對立的形式，解構傳統中一尊一卑的二元對立模式。 惹內以劇場的形式解構了傳統寫實劇場。他利用自我顛覆的技巧，不斷地強調虛幻比現實更真實，創造了一動盪不定且虛無的戲劇世界。 / This thesis aims at exploiting the postmodern characteristics of Jean Genet's plays: The Maids, The Balcony, The Blacks and The Screens. The first chapter discusses how Genet makes use of the form of a play within a play to foreground the theatricality of his plays. With this structure, he expresses his view on reality: it is constructed in the same way as illusion. He considers that nothing can be real. The second chapter talks about the way postmodern parody functions in his works: to reinforce the artificiality of the plays and to make the audience aware of how theatrical devices woek. The third chapter probes the indeterminacy and fluidity of his plays . The fourth chapter discloses the playwright's notion that one's identity is defined in terms of one's role and one's difference from the others. It also elaborates how he deconstructs the traditional binary opppsition(in which there is always a superior and an inferior). Genet subverts the conventional realistic theater by using its form. As he keeps destabilizing his plays and emphasizing that appearance is more real than reality, he creates a theatrical world of uncertainty and emptiness.