To embark on a study of haptics in Beckett's work, it may be necessary to begin with the eye. Or, more accurately, the failing eye. The protagonists of the plays examined in this chapter, Film and Krapp's Last Tape , both suffer from myopic vision. However, dimming vision affects Beckett's aesthetic practice more widely. Figures such as Hamm in Endgame and A in Rough for Theater I are afflicted with visual failure; for the spectator also, the dim and shadowy stage and filmic images seem to work against vision; it is no longer privileged as an epistemological tool for either the figures of the drama or their spectators. The very notion of theater is undermined. It is not "a viewing place" as in the meaning of the original Greek word theatron , but a place where the eye begins to fail.