In his study of psychology in the 1930s, Samuel Beckett registered a number of ideas regarding the face. He took note of the Gestalt idea that the baby is born with the innate ability to distinguish the figure of a face from a blurry buzzing background. His interest was also piqued by the finding that one's perception of a facial expression might change depending on how much of the face is made visible. These ideas would influence his later work. Focusing on the short play That Time, this article looks at Beckett's dramatic presentation of a face alone in the dark. It compares Beckett's approach to face-reading with the study of the face that developed in twentieth-century experimental psychology. Beckett, I suggest, is working with the idea, common in experimental psychology, that facial expressions can be produced involuntarily and perceived effortlessly. However, he also draws attention to a more effortful mode of producing and perceiving faces. Finally, the article situates Beckett's portrayal of the face in relation to a modern culture that increasingly recognises – and celebrates – the face's unmanageability, but has not stopped attempting to manage the face.