Samuel Beckett had a radical vision of multiple aspects of theatre and literature. In his oeuvre, we can see that he experimented with the language, trying to fragment, deconstruct, and, in the end, eliminate it. My hypothesis is that we can observe similar treatments in all of his plays regarding the body. In this paper, I analyse Beckett’s multiple plays — Waiting for Godot, Endgame, Krapp’s Last Tape, Happy Days, Breath, Not I — from the perspective of these body experiments. By this, I am pointing at examples that can establish further questions and possible research, such as how these experiments can/could appear on stage, affect the actor or the audience, and what obstacles there are that can block these experiments from happening on stage today.