Abstract
The article focuses on the vocal power that intensifies in Samuel Beckett's writing, especially in the latest works, with the objective of demonstrating the links between literature, dramaturgy, music and performance that are exemplarily outlined there from the exploration of the voice materiality. In order to do so, it proposes the notion of “speech machines” to define these texts that work with vocal material and constitute themselves as scores for speech music. The reader will then be the one who performs voices in the real time of his reading, even when silent; he is the performer of this writing, each time putting the rhythmic machines that are texts to work in his body. It is about thinking about the creation of these vocal lines in Beckett, in this writing that takes place from rhythms and sounds and invents new languages.
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