"actions."
　　　　  (4) See Pierre Astier, "Beckett's Ohio Impromptu: A View from the
　　　　  Isle of Swans," Modern Drama, 25 (September 1982), 336-8.
　　　　  (5) H. Porter Abbott, "Reading as Theatre: Understanding
　　　　  Defamiliarization in Beckett's Art," Modern Drama, 34:1 (March
　　　　  1991), 15.
　　　　  (6) Audrey McMullan, "The Space of Play in L'Impromptu d'Ohio,"
　　　　  Modern Drama, 30:1 (March 1987), 24.
　　　　  (7) Yasunari Takahashi, "Qu'est-ce qui arrive? Some Structural
　　　　  Comparisons of Beckett's Plays and the Noh," in Samuel Beckett:
　　　　  Humanistic Perspectives, ed. Morris Beja, S.E. Gontarski, and Pierre
　　　　  Astier (Columbus, 1983), 106.
　　　　  (8) Taisen Deshimaru, Questions to a Zen Master (New York, 1985),
　　　　  10.
　　　　  (9) Kasulis very carefully lays the groundwork for this terminology
　　　　  in Zen Action/ Zen Person (Honolulu, 1981). The basis of the
　　　　  technical terminology, "without-x," is to avoid the trap of
　　　　  dualistic conceptualization. In Kasulis's primary example, that of
　　　　  thinking, there seem to be two states of mind -- thinking and
　　　　  not-thinking -- yet the negative term indicates a causal relation
　　　　  between itself and thinking (a denial of the state of thinking),
　　　　  which requires an objectification of the term thinking, and then an
　　　　  application of its opposite. Thus, these two terms, like the
　　　　  illusory pairings in Ohio Impromptu, are not in reality the primary
　　　　  center of thinking (or not-thinking). The state of
　　　　  "without-thinking" is an a-priori, non-reflective state of being
　　　　  which gives rise both to thinking and not-thinking, and thus
　　　　  "without-thinking" is a true "middle way": it is the normally hidden
　　　　  trunk of the thinking "tree" which gives rise to the two (apparently
　　　　  bipolar) "branches" of thought and not-thought. For a more complete
　　　　  treatment of this important terminology (which is beyond the scope
　　　　  of this article), please see Kasulis's book, especially chapters 1,
　　　　  2, and 6.
　　　　  (10) Ibid., 115. An important Western parallel to this Zen
　　　　  re-visioning of the universe is the Husserlian (and post-Husserlian)
　　　　  theory of phenomenology. In "`Still living flesh': Beckett,
　　　　  Merleau-Ponty, and the Phenomenological Body," Theatre Journal 45:4
　　　　  (December 1993), 443-60, Stanton Gainer has recently attempted to
　　　　  revitalize the use of this "out of favor" philosophy for the study
　　　　  of Beckett's drama, citing the problem of "scriptocentrism" which