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This essay examines the ways in which silence in John Cage's “chance operations” functions as a theatrical device for revealing noises on the stage in Samuel Beckett's plays. His silent piece 4'33" uses silence as both a space and a period of time for various noises in order to give our absurd life the opportunity to be represented irrespective of the author's intention. As this piece implies, our world is not a place for silence, but it is filled with unfamiliar noises. Just as Cage considers these noises to be important musical or theatrical elements, Beckett has utilized “chance operations” for the staging of noises in Waiting for Godot, Endgame, “Act Without Words I,” “Act Without Words II,” and “Breath.” On such theatrical stages for silence as an isolated place, a claustrophobic empty chamber, or a desert, various noises are incessantly inscribed as metaphors for representing the existential situation of human beings. By diminishing the role of an artist for his faithful representation of life, Cage positively employs silence as a theatrical device of what he calls “waking up to the very life we're living.”