Finding a Form for the Speechless

Samuel Beckett and Miwa Yanagi’s Zero Hour

in Samuel Beckett Today / Aujourd'hui
Restricted Access
Get Access to Full Text
Rent on DeepDyve

Have an Access Token?

Enter your access token to activate and access content online.

Please login and go to your personal user account to enter your access token.


Have Institutional Access?

Access content through your institution. Any other coaching guidance?


As articulated to Avigdor Arikha, Beckett saw “find[ing] a form” for speechlessness as one of his tasks as a writer. Different literary genres facilitated his exploration of the speechless in the motif of spectres. The Japanese artist and dramatist Miwa Yanagi’s theatrical piece Zero HourTokyo Rose’s Last Tape takes on this task by borrowing some of the elements of Krapp’s Last Tape. Drawing on the historical context of the ‘Tokyo Rose Case,’ the article explores similarities and differences between the two artists in their incorporation of the spectral and their use of media, as well as analyzing the original use of mixed media (tape recorder and radio) in Zero Hour as a way to elucidate the speechless/the spectral.

Samuel Beckett Today / Aujourd'hui

A Bilingual Review / Revue Bilingue