Abstract
Though Kenneth Tynan was a self-declared godotista (161), his skitreview of Endgame and Krapp's Last Tape for the Sunday Times in 1958 articulated what has become received wisdom: whatever their literary merits, Beckett's dramatic vacuums (159) are difficult for audiences digest. From his earliest full-length texts with the power confound or claw1 through the increasingly eviscerated dramaticules delivered at often incomprehensible tempos rapid (Play, Not /), slow (Footfalls), or hardly at all (Breath) and culminating in What Where's Make sense who may. I switch off (504),2 Beckett's dramaturgy of developing impoverishment approaches a zero degree theater (Duckworth 45) that seems to be an assault on itself, an assault on theater (Gontarski xvi), an assault on the audience that sustains it.
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