Abstract
Owing to the declared absence of spoken words on stage, each of the and appears to consist of lengthy stage directions describing a series of actions tending toward an end that is going to shed meaning on them. However, this program contains a certain number of disruptions that go counter the obvious signifying intention, a situation with parallels in morality plays. These abnormalities are further emphasized by the linguistic nature of the description "without words." My analysis of these malfunctions leads me to reconsider the concept of the 'absurd' as it has been generally applied to Beckett's theatre.
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