A Piece of Monologue is a short play by Beckett, which vocalises the filmic gaze through Speaker’s narrating voice, as if the camera eye structured the account of an old man resembling him. The story begins with long shots and medium shots that give us an objective observation of the old man’s room and his actions, but as the play unfolds, we perceive close-ups of the old man’s body parts that would make us lose our sense of wholeness, remain suspended and feel dislocated. Beckett utilises close-ups to infuse the spectator with a sense of the uncanny through the bodiless, ghostly protagonist. He also employs unusual camera angles and framings to convey the protagonist’s inner torment. This essay aims to explore how early film theories and camera techniques are reflected in the filmic perspectives in Speaker’s narrative of A Piece of Monologue, effectively structuring a dramatic text by illustrating the ‘profounds of mind’ (Beckett, 448) of the old man.