In the second half of
Krapp’s Last Tape, we observe how the old, sad-looking version of Krapp has two completely opposite personalities, one of which tries to hide and destroy the other, by pausing the tape, throwing out the remaining of that old self. This is seen when Krapp begins recording his a new tape in which he states: “Just been listening to that stupid bastard I took myself for thirty years ago, hard to believe I was ever as bad as that.” (Beckett) It is interesting how Krapp seems to be an alter ego of Beckett, who had his own drinking and love problems. Maybe he had these same internal conflicts, by which he was able to capture this personality conflict. The superior Krapp, the one that tries to hide his true self, is the one who laughs at his aspirations and drinking problems, the one who tries to eliminate his pain in the alcohol and the tape recordings.
But we rapidly see how the other self runs up to scream how he is feeling, how beautiful were “The eyes she had” (Beckett). It becomes monumentally important for the reader to see Krapp’s true personality and to understand the suffering and the complexities of his life that have made him dependant in alcohol and alienated form society. The juxtaposition of both characters, the defying, strong Krapp, and the weak but truthful individual who abruptly shows up in the play, make up a scene of trickery, a play of one person but several characters. The visual
Krapp’s Last Tape understands this relationship between Krapp’s personalities, exposing them in the facial expressions and actions of the character as seen on the screen shot to the right.
The final resolution Krapp makes, of listening to the whole part of his love for the woman, exposes how the weaker but truthful self manages to win over the other, to expose the truth of his feelings about love and what he has become. The old Krapp listens to his younger self stating how they “lay there without moving. But under us all moved, and moved us, gently, up and down, and from side to side” (Beckett). The tape becomes the old Krapp’s possibility to escape, to remember and cherish that moment in which he was happy, in which he wished be back again at. Does life become this? The limited list of memories, or can one arrange it to be unique in its individual, day to day essence?
In the second half of Krapp’s Last Tape, we observe how the old, sad-looking version of Krapp has two completely opposite personalities, one of which tries to hide and destroy the other, by pausing the tape, throwing out the remaining of that old self. This is seen when Krapp begins recording his a new tape in which he states: “Just been listening to that stupid bastard I took myself for thirty years ago, hard to believe I was ever as bad as that.” (Beckett) It is interesting how Krapp seems to be an alter ego of Beckett, who had his own drinking and love problems. Maybe he had these same internal conflicts, by which he was able to capture this personality conflict. The superior Krapp, the one that tries to hide his true self, is the one who laughs at his aspirations and drinking problems, the one who tries to eliminate his pain in the alcohol and the tape recordings. 
But we rapidly see how the other self runs up to scream how he is feeling, how beautiful were “The eyes she had” (Beckett). It becomes monumentally important for the reader to see Krapp’s true personality and to understand the suffering and the complexities of his life that have made him dependant in alcohol and alienated form society. The juxtaposition of both characters, the defying, strong Krapp, and the weak but truthful individual who abruptly shows up in the play, make up a scene of trickery, a play of one person but several characters. The visual Krapp’s Last Tape understands this relationship between Krapp’s personalities, exposing them in the facial expressions and actions of the character as seen on the screen shot to the right. 
The final resolution Krapp makes, of listening to the whole part of his love for the woman, exposes how the weaker but truthful self manages to win over the other, to expose the truth of his feelings about love and what he has become. The old Krapp listens to his younger self stating how they “lay there without moving. But under us all moved, and moved us, gently, up and down, and from side to side” (Beckett). The tape becomes the old Krapp’s possibility to escape, to remember and cherish that moment in which he was happy, in which he wished be back again at. Does life become this? The limited list of memories, or can one arrange it to be unique in its individual, day to day essence?
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