One character speaks at a time and only when a strong spotlight shines in his or her face. The style is reminiscent of Mouth's logorrhoea in Not I, the obvious difference being that these characters constantly use first person pronouns. Clichés and puns abound. While one is talking the other two are silent and in darkness. They neither acknowledge the existence of the others around them (M: "To think we were never together"Beckett, S., Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984), p. 156) nor appear aware of anything outside their own being and past (W2: "At the same time I prefer this to . . . the other thing. Definitely. There are endurable moments"Beckett, S., Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984), p. 152). Beckett writes that this spotlight "provokes" the character's speech, and insists that whenever possible, a single, swivelling light should be used, rather than separate lights switching on and off. In this manner the spotlight is "expressive of a unique inquisitor".Beckett, S., Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984), p. 158 Billie Whitelaw referred to it as "an instrument of torture."From an unscripted interview with Billie Whitelaw by James Knowlson. A television recording made on 1 February 1977 for the University of London Audio-Visual Centre. The spotlight is in effect the play's fourth character.
One character speaks at a time and only when a strong spotlight shines in his or her face. The style is reminiscent of Mouth's logorrhoea in Not I, the obvious difference being that these characters constantly use first person pronou.ns. Clichés and puns abound. While one is talking the other two are silent and in darkness. They neither acknowledge the existence of the others around them (M: "To think we were never together"Beckett, S., Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984), p. 156) nor appear aware of anything outside their own being and past (W2: "At the same time I prefer this to . . . the other thing. Definitely. There are endurable moments"Beckett, S., Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984), p 152). Beckett writes that this spotlight "provokes" the character's speech, and insists that whenever possible, a single, swivelling light should be used, rather than separate lights switching on and off. In this manner the spotlight is "expressive of a unique inquisitor".Beckett, S., Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984), p. 158 Billie Whitelaw referred to it as "an instrument of torture."From an unscripted interview with Billie Whitelaw by James Knowlson. A television recording made on 1 February 1977 for the University of London Audio-Visual Centre. The spotlight is in effect the play's fourth character.