the production but also in the text." "[It] arrived at the last minute when the first two plays were already in rehearsal [having] been hastily translated by the author to finish off Alan Schneider's evening." "Reviewers … tended to concentrate almost exclusively on the play’s possible political resonance. Alan Schneider, commenting on this, wrote to Beckett: ‘What Where most people keep wanting to interpret on the literal political level – I think it may suffer from coming after Catastrophe.’" 1985 In December 1983 Beckett planned to go to Stuttgart to direct the German version Was Wo. Due to ill health the project ended up being postponed. The filming finally took place at the studios of Süddeutscher Rundfunk between 18 and 25 June 1985. "This was to be his last trip abroad." The work was transmitted on 13 June 1986. "The production was a dramatic distillation and transformation of the original, effectively a recreation." Eric Brater contends that "On screen Beckett more clearly establishes that this is a story about Bam remembering … Torture becomes more explicitly self-inflicted, a function of memory, remorse and the relentless need to tell a story." "Instead of players in long gray gowns, their own corporeality suspect, the four figures of the revised, television What Where now appeared as floating faces dissolving in and out [of the light] … Neither representation of Bam then is corporeal, Beckett representing instead a spectre and its mirror reflection, and the rest of the figures of What Where are ghosts as well, all the more so as they are represented by the patterns of dots on the television screen. What characters, what bodies, finally exist in What Where are created by voice, less absent presences than present absences." Beckett referred to the lit playing area in this production as the "field of memory". "The clear indication is that what we are seeing is both a memory and a scenario: instructions come from the megaphone, the Voice of Bam controls what we see, puts the characters through their movements rapidly without words like a film running over its spools at rewind speed, and then starts again, occasionally stopping when Bam is not satisfied and a phrase is improved to add to the force of the theme. [The play can therefore be compared with Krapp’s Last Tape but it also] shares many similarities with Ohio Impromptu, the identical characters in appearance and