plunge into the horizontality of moving and light surfaces where
　　　　  there are no objects, only an incessant shifting of masks; where
　　　　  there is no security and also no need for security, because
　　　　  everything that can be lost has been, including oneself. Especially
　　　　  oneself.(50)
　　　　  Thus the (non)actions of L. and R, listener and reader, light and
　　　　  dark, birth and death -- in fact all of the destabilized dualities
　　　　  of Beckett's plays -- are eventually redirected toward us, the
　　　　  audience. Across the void between ourselves and the stage, it is we
　　　　  who must learn to see correctly, ceasing to value those elements
　　　　  conserved in the old style -- linearity, logic, division --
　　　　  apprehending instead the scale-invariance and radically relational
　　　　  without-context within which "we" function.
　　　　  In order to succeed with the audience, Ohio Impromptu must turn
　　　　  inward in us, becoming, in effect, the drama of the Great Death
　　　　  within each of the audience members as the egoistic, logical,
　　　　  controlling Self struggles against the impossibility of what it
　　　　  perceives on stage and in the narrative, finally "shorting-out" as
　　　　  recursive words, sentences, actions, and staging float beyond their
　　　　  denotative space into that of a connotative flux. In the interplay
　　　　  between Zen and Beckett's plays, we have discovered how both of
　　　　  these systems, making use of pairs that are destabilized by a third
　　　　  element, decenters the entrenched order of bipolar vision, replacing
　　　　  it with a vision of reality that is not based on meaning and
　　　　  concepts, but rather on experiencing each moment of reality in
　　　　  holistic fashion. For both Ohio Impromptu and Zen, a progressive
　　　　  movement from the old style, normative paradigm to this new one
　　　　  occurs via a series of iterations of supposedly fringe elements of
　　　　  reality -- the "without-context" of Mu, discontinuous yet repetitive
　　　　  characters, language, and action -- which first lays bare the
　　　　  paradoxical nature of the causal paradigm, then allows for a
　　　　  cathartic moment -- the Great Death -- in whose potential space this
　　　　  new vision of the world takes form.
　　　　  In the miniature world of Ohio Impromptu, the compression of levels
　　　　  of imagery, the koan-like nature of the internal narrative and the
　　　　  play itself, and the "conflowing" nature of the characters
　　　　  themselves allows a complete break with the old paradigm, "relief"
　　　　  flowing from the erasure of subjectivity into the relational context
　　　　  of Mu, or no-thing. In the final moments of the play nothing exists,