dress, the unwinding backwards of events and the stylization of image and movement in particular." With Krapp his memories have a certain degree of reliability. Not so with Bam. "[T]he figures in What Where emerge from beyond the grave, ghosts of memories that never really were." They are given form as if they existed. "In this version the difference between the two Bams was achieved mechanically." "There was a slightly higher frequency in [the voice] of the younger Bam, and a lower deeper effect in the older Bam." "'In his Stuggart notebook Beckett wrote that "S (Stimme [Voice]) = mirror reflection of Bam’s face … S’s voice prerecorded. Bam’s but changed.' This enlarged and distorted death mask ... replaced the suspended 'megaphone at head level' of the original publication." The altered voices of Bam creates, as Walter Asmus suggests, "the ghost Bam, dead Bam, [a] distorted image of a face in a grave, somewhere not in this world any longer, imagining that he comes back to life in the world, dreaming and seeing himself as a … face on the screen." "Jim Lewis, the cameraman with whom Beckett worked on the German TV production ... suggested that at least with regard to 'V' – 'Voice of Bam' it is a matter of being beyond death as this represents, 'The image of Bam in the beyond or beyond the grave or whatever you want to call it'". The stage Bam is therefore an "historical projection" of the incorporeal voice emanating from the loudspeaker. "The original play had a substantial emphasis on eliciting 'where' from the victims, even where the victim said 'where'. Beckett ... eliminated that potentially confusing repetition, substituting a balanced 'He didn’t say what?’ 'He didn't say where?’ into each encounter. The emphasis on 'where' was decreased, many changed to 'it' and each 'where' followed by a 'what'." 1986 "The [German] television play showed three characters who simply appear and disappear instead of shuffling back and forth on stage, which took a long time. Considering the original printed text not successful, following the clearly superior television piece, Beckett sought with [the director Pierre] Chabert to find a stage equivalent. While Beckett was convinced it could not be done, Chabert proposed to accomplish the appearance/disappearance of the characters with lighting. Beckett agreed to go along with it." The six performances took place at the Théâtre du Rond-Point in Paris and