This study provides a comprehensive meta-dramaturgical analysis of Ferenc Molnár’s play Play at the Castle. In the first part, the representation of authorship is the focus of the study. Much of the literature on the work takes it for granted that the figure of Turai, the playwright, can be understood as and only as an alter ego of Ferenc Molnár, and that, accordingly, the work is Ferenc Molnár’s personal confession on his playwriting secrets. In contrast, the analysis here sees it as a complex aesthetic function (based on Foucault), which cannot be assigned a priori and unambiguously to a single figure within the drama. From this point of view, the reading of the text traces the way in which Turai’s own, characteristically aestheticizing vision, his gradually consolidating control over the discursive network, and an occasional complication, which may be understood as dramaturgical tool, turn him into an author. Authorship in this representation, however, does not imply absolute sovereignty over the work of art, as responsibility is shared with the performers and the audience. The work that is born in the course of the plot gradually reveals a dialogue that took place during a misstep as innocent; thereby, the relationship between falsehood and fiction concerning Turai’s responsibility is also given a complex form in the text of Play at the Castle.