Endgame,(28) but now each grain is self-sufficient, creating a heap
　　　　  of "being-time"(29) all its own.
　　　　  The divided arms of distinction are radically destabilized in the
　　　　  staging of the play as well. For example, the stage directions
　　　　  require darkness on the bulk of the stage surrounding the white of
　　　　  the deal table -- a clear case of light and/separated-from dark --
　　　　  yet the Latin Quarter hat lying at the center of the table puts a
　　　　  black blot at the center of the light table; similarly, the table
　　　　  reflects white light inside the circle of darkness of the stage.
　　　　  Light flows around the dark hat, darkness flows around the pool of
　　　　  light "midstage," like islands within rivers within islands. Dark
　　　　  interpenetrates light which interpenetrates dark in a
　　　　  scale-invariant fashion. As with his use of white and black in Ill
　　　　  Seen Ill Said, in Ohio Impromptu Beckett seems to use apparently
　　　　  simple divisions only to point out the impossibility of determining
　　　　  where one half stops and the other starts. In Ill Seen Ill Said,
　　　　  Beckett writes, "Nothing left but black sky. White earth. Or
　　　　  inversely."(30) First, we are given a simple division between black
　　　　  and white; then Beckett pulls the rug out from under us, so to
　　　　  speak, as he unequivocally states that the division could be just as
　　　　  easily the other way around.
　　　　  Additionally, the apparently static physicality of the staging is
　　　　  destabilized. From first to last, there are only table, hat, book,
　　　　  chairs, and two men, "[a]s alike . . . as possible"; nothing moves
　　　　  much, the staging not at all. As opposed to Beckett's other late
　　　　  plays, the table is even positioned "midstage," allowing an apparent
　　　　  centrality that has been missing in recent works. But this
　　　　  apparently stable image is in fact no such thing: the table may be
　　　　  midstage, the "[b]lack, wide-brimmed hat at center of table," but L
　　　　  and R are both "audience right" (285). The image, then, is weighted
　　　　  to the right, and an implicit rotational motion is potentiated:
　　　　  Viewed from above, the hat resting at the table's center acts as a
　　　　  pivot point around which the table seems destined to rotate because
　　　　  of the mass -- both physical and dramatic -- situated at the right
　　　　  end of the table. Within the stasis of the staging is then a
　　　　  physical and emotional decentering -- an implicit motion which
　　　　  destabilizes any centrality in the staging of the play. The radical
　　　　  relativity of Zen tells us that the table, like the still Isle in