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 described as minimalist. The extreme example of this, among his dramatic works, is the 1969 piece "Breath", which lasts for only 35 seconds and has no characters (though it was likely intended to offer ironic comment on "Oh! Calcutta!", the theatrical revue for which it served as an introductory piece). In his theatre of the late period, Beckett's characters—already few in number in the earlier plays—are whittled down to essential elements. The ironically titled "Play" (1962), for instance, consists of three characters immersed up to their necks in large funeral urns. The television drama "Eh Joe" (1963), which was written