Samuel Beckett of simplifying his style, a change also evidenced in "Watt". After World War II, Beckett turned definitively to the French language as a vehicle. It was this, together with the "revelation" experienced in his mother's room in Dublin—in which he realized that his art must be subjective and drawn wholly from his own inner world—that would result in the works for which Beckett is best remembered today. During the 15 years following the war, Beckett produced four major full-length stage plays: "En attendant Godot" (written 1948–1949; "Waiting for Godot"), "Fin de partie" (1955–1957; "Endgame"), "Krapp's Last Tape" (1958), and "Happy
Samuel Beckett in 1966. Billie Whitelaw worked with Beckett for 25 years on such plays as "Not I", "Eh Joe", "Krapp's Last Tape", and "Footfalls" and "Rockaby." She first met Beckett in 1963. In her autobiography "Billie Whitelaw...: Who He?," she describes their first meeting in 1963 was "trust at first sight". Beckett went on to write many of his experimental theatre works for her. She came to be regarded as his muse, the "supreme interpreter of his work", perhaps most famous for her role as the mouth in "Not I". She said of the play "Rockaby": "I put the tape in