Samuel Beckett's prose was initially understood as a presentation of the existentialist problem of absurdity and meaninglessness of existence, and then, in the form of structuralism and narratology in the 1960s, it began to be understood as an exhaustive narratological experiment with the formal features of a narrative text. This work is dedicated to Beckett's trilogy of novels: Molloy, Malone Dies and The Unnameable and along the way looks at Beckett's short prose of the same creative period which shares the same narrative features. Dealing with the narrator and his position in narrative levels, the space and time of the text and the question of subjectivity from corporeality to the narrative voice, Beckett gradually develops the narrative problematic in each subsequent novel of the trilogy and in this way shows the increasingly radical narrative possibilities of the literary text. The work is divided into three parts, dealing with each novel of the trilogy in turn. The first part of the paper is dedicated to the novel Molloy, which through the positions of two unreliable narrators opens up the issue of overlapping narrative levels and with the novel's specific structure and spatio-temporal indeterminacy introduces the reader to the game of narratological determinants of narrative prose in the following novels. The second novel Malone Dies is structured using the story-within-a-story technique and the emphasized fictionality of the narrative enables a more radical approach to the narrative elements of the literary text. The spatial limitation of the narrator, the materiality of the narrative world, and the gradual reduction of the narrator's instantiation from the body to the voice lead to the climax of the narratological experiment in the third novel The Unnamable. Written in the form of a continuous internal monologue the last novel describes the abstract space of a narrative voice without identity, revealing the stripped-down structure of a narrative text composed exclusively of narrative elements and written words realized by a disembodied narrative voice and its space includes all the previous novels of the trilogy and, at the same time, Beckett's entire oeuvre to date.