place." He goes on to explain the importance of this: I know it's hell to separate text and movement and maintain two different rhythms. It takes time to train yourself to keep tongue and body working against each other. But things happen with the body that have nothing to do with what we say. It's more interesting if the mind and the body are in two different places, occupying different zones of reality. These rhythms keep the mind on its toes, consciously and subconsciously taking in the meanings behind the movement and how it is matching up with the language. Similar to Wilson's use of the lack of language in his works, he also sees the importance that a lack of movement can have. In his production of Medea, Wilson arranged a scene in which the lead singer stood still during her entire aria while many others moved around her. Wilson recalls that "she complained that if I didn't give her any movements, no one would notice her. I told her if she knew how to stand, everyone would watch her. I told her to stand like a marble statue of a goddess who had been standing in the same spot for a thousand years". Allowing an actor to have such stage presence without ever saying a word is very provocative, which is precisely what Wilson means to accomplish with any sense of movement he puts on the stage. Lighting Wilson believes that "the most important part of theatre" is light. He is concerned with how images are defined onstage, and this is related to the light of an object or tableau. He feels that the lighting design can really bring the production to life. The set designer for Wilson's the CIVIL warS, Tom Kamm, describes his philosophy: "a set for Wilson is a canvas for the light to hit like paint." He explains, "If you know how to light, you can make shit look like gold. I paint, I build, I compose with light. Light is a magic wand." Wilson is "the only major director to get billing as a lighting designer" and is recognized by some as "the greatest light artist of our time". He designs with light to be flowing rather than an off-and-on pattern, thus making his lighting "like a musical score." Wilson's lighting designs feature "dense, palpable textures" and allow "people and objects to leap