Krapp’s Last Tape, Not I, and That Time are three monologues in which Samuel Beckett explores the extreme possibilities of the question of vision on stage. Beckett places a poetic image on stage, often fragmented or immobile, in the gaze of the spectator. These images approach the limits of a theatrical representation of space and time. The individuals on Beckett’s stage, filled with aspiration and hope for an impossible enlightenment, are lost in the obscurity of an endless night. Nevertheless, they seem to be caught in an intermittent cycle of searching for self-knowledge, interrupted by urges to deny their existence. Curious about the mystery of their origin, they are unable to determine their destiny. They are forbidden a contemplation of the self in full light; the final “vision” of the reason for their being is obscured. The words they pronounce have a conceptual presence of their own. The sense of the spoken word and the written text are strictly interconnected, and functional to the “visions” that inspired the plays. Being aware that each of these short plays is an independent entity, with its own rhythm and theme, I set out to consider common aspects and echoes of the same thematic and performative elements present in these short plays.