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Throughout the works of Samuel Beckett there's an extreme focus on the human body both in its function as a medium of "physicalized language" (Hunka, 2010) as well as a philosophical and sociological apology or catalyst. The body in Beckett is hence not merely a vessel for a personality but a prop of its own that may be utilised to explore or exaggerate the topics and ideas of the plays. There is a dichotomy between the human body and mind during Beckett's plays and an examination of the plays Happy Days (1961) and Act Without Words Part 1 (1956) demonstrates the reliance that is put on the body as a way of communicating that language can't achieve itself. The human body is so intrinsic to the works of Beckett that even at the radio play All That Fall (1957) that generates a radiophonic body to add solidity to the soundscape for the listener within an environment based in their imagination. From the play Happy Days Beckett employs the mobility, or absence thereof, of the characters bodies as declining force as they age and are abandoned by the outside world. The drama starts with the image of Winnie "embedded up to above her waist at the middle of a mound" in the midst of a scorched and isolated territory. She is trapped in the floor, an example of bodily iconoclasm (Client, 2004, p. 164) because her bodily 'self' is deconstructed leaving just her thoughts behind. She gets up for that which she cannot do with her body along with her talking to the quiet and largely concealed Willie, that we only find the rear of the mind of in the first act. Her chatter is incessant and repetitive, reminiscent of the benign prattle of a older woman with regular references to this "old fashion" of her youth. From the second action, Winnie is buried past her neck and is not able to move anything but her eyes that dar...