Referring to a ‘singular experience’ (Attridge) of watching Footfalls, this chapter seeks to address Samuel Beckett’s theatre as world literature by looking at and analysing affect. Affect is a world-constituting force emerging on a scale of (aesthetic) experience. The structural organisation of aesthetic elements in the play, here discussed in terms of ‘amplitude’ (Hayot), therefore provides an invaluable clue to understand the relation between the spectator and the work. Past years have seen an increased interest in the way in which Beckett deploys affect as a constituting factor in the lives of his characters (Gontarski), yet the potential effect of affect on spectators has received less attention. Affect does not correspond to predetermined or even conscious meanings, nor does it depend on preconceived knowledge of historical or cultural facts. Rather, emerging on a scale of (aesthetic) experience, affect prompts spectators to reconfigure their sense of belonging to the world: an invitation to experience that also has ethical dimensions.