If Godot brought Beckett to the attention of the intelectual avant-garde it was with his second play that he was to find his public, and his public were to find him. In Getting On, written in 1962 and first performed in London, exactly thirty-three years ago, the two central characters, Velcro and Claude, spend the entire play trapped in opposite segments of a revolving door, the single object of an otherwise bare set, which has apparently become stuck, although we can't be certain about that. One of them seems to have been trying to get in, and one trying to get out, but they can't now remember which was which and neither if them seems to know what the door is a door to. In the second act of the play, the situation is exactly as it was in the first act, except that the two characters have now exchanged places in the revolving door, and they've also exchanged hats.

Velcro What's the weather like, Claude?
Claude How should I know?
Velcro Look, you knew yesterday. Look.
(Pause)
Claude It's not bad.
Velcro But not good.
Claude Not bad, I said.
Velcro Not bad?
Claude Yes.
Velcro That's good.
Claude It's not bad.
Velcro Ah, yes.
(Pause)
Velcro Not bad, not good. That's not bad.
Claude Precisely. That's exactly it, more or less.
(Pause)
Velcro My knees hurt.
Claude I've got some celery left.

in Mightier Than the Sword, episode three.