Departing from some aspects suggested by Slow Angle Walk (Beckett Walk), 1968, one of Bruce Nauman's first videos shot in his atelier, this essay aims at examining some formal and thematic convergences between Nauman's procedures in a motley universe of works and in Samuel Beckett's pieces, particularly the use of repetition, suppression and restraint as fundamental mechanisms to promote some sort of saturation of experience, leading to depletion, by means of an exhaustive recombination of a few elements.
Bruce Nauman; Samuel Beckett; modern and contemporary art; video and performance; repetition; saturation
