In all of Samuel Beckett's works there is an intense focus on the body both in its role as a medium of "physicalized language" (Hunka, 2010) and as a catalyst or metaphysical and philosophical metaphor. The body in Beckett is therefore not simply a container for a character, but a prop in its own right that can be used to explore or exaggerate the themes and ideas of his plays. There is a dichotomy between the body and the mind throughout Beckett's works and an examination of the plays Happy Days (1961) and Act Without Part One (1956) shows the reliance placed on the body as a mode of communication that the language cannot achieve on its own. . The body is so intrinsic to Beckett's works that even in the radio play All That Fall (1957) he creates a radio body to add solidity to the soundscape for the listener in an environment based on his imagination. In the play Happy Days Beckett uses the mobility, or lack thereof, of the characters' bodies as a declining strength as they age and are abandoned by the outside world. The work begins with the image of Winnie “nestled waist-deep in the exact center of a mound” in the middle of a scorched, isolated land. She is trapped in the ground, an example of corporeal iconoclasm (Guest, 2004, p. 164) as her corporeal “self” is deconstructed leaving only her mind behind. She makes up for what she can't do with her body by talking to the quiet and mostly hidden Willie, whose neck we only see in the first act. Her chatter is incessant and repetitive, reminiscent of the benevolent chatter of an older woman with frequent references to the “old style” of her youth. In the second act, Winnie is buried beyond her neck and cannot move anything other than her eyes which look out... into the center of the sheet... ujourd'hui, 14, 161-177. Retrieved from http://www.jstor.org/stable/25781464Hunka, G. (2010, May). Access to the body: the theater of the Apocalypse in Beckett, Foreman and Barker. Hyperion,Volume V, number 1,, pp. 17-27.Lamont, R. (1987). To talk about "The Tribe": The absence of words by Samuel Beckett. In Burkman, & K. Burkman, Myth and Ritual in the Plays of Samuel Beckett (p. 60). London and Toronto: Fairleigh Dickson University Press. Lamont, R. (1987). To talk about "The Tribe": The absence of words by Samuel Beckett. In Burkman, & K. Burkman, Myth and Ritual in the Plays of Samuel Beckett (p. 60). London and Toronto: Fairleigh Dickson University Press.Morrison, C. (2008). Flesh, bones and laughter without. Theater Symposium, 89-102. Porter, J. (2010). Samuel Beckett and the Radio Corps: Beckett and the BBC. Modern Drama, 53(4), pp. 431-446.