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Takeshi Kawashima

It is widely assumed that perception is intrinsically implicated in the issue of existence in Beckett's theatre. In particular, the Beckettian act of seeing and the motion of the eye defy the binary opposition between the visible and the invisible. Krapp's gaze directed toward the darkness behind him () or the doubleness revealed by E's relentless stare into O (), for example, demand reformation of the ontological conception based on the dichotomy of presence and absence. By focusing on the complex interplay of the seeing and the seen in , I shall explore how Beckett problematises the perceiving/perceived connection.