Summary/Abstract: This article examines Samuel Beckett’s post-WWII plays in order to contrive a political connection that has received insufficient attention in Beckett studies. The investigation is two-fold: first, I shall make textual analyses of Rough for Radio II and Catastrophe to investigate various performances of linguistic babbles; and second, I shall theorize Giorgio Agamben’s conceptual notions of “bare life” and the “state of exception” based on the analyses done in the first part. This article hopes to throw a useful light on a political reading of Beckett’s work, and to foreground the embedded problems in modern democracy.
