look at the "language itself" rather than "the objects and meanings it refers to.". The lack of language is essential to Wilson's work as well. In the same way an artist uses positive and negative space, Wilson uses noise and silence. In working on a production of King Lear, Wilson inadvertently describes his necessity of silence: The way actors are trained here is wrong. All they think about is interpreting a text. They worry about how to speak words and know nothing about their bodies. You see that by the way they walk. They don't understand the weight of a gesture in space. A good actor can command an audience by moving one finger. This emphasis on silence is fully explored in some of his works. Deafman Glance is a play without words, and his adaptation of Heiner Müller's play contained a fifteen-minute wordless prologue. Holmberg describes these works stating, Language does many things and does them well. But we tend to shut our eyes to what language does not do well. Despite the arrogance of words – they rule traditional theatre with an iron fist – not all experience can be translated into a linguistic code. Celebrated twentieth century playwright Eugène Ionesco said that Wilson "surpassed Beckett" because "[Wilson's] silence is a silence that speaks". This silence onstage may be unnerving to audience members but serves a purpose of showing how important language is by its absence. It is Wilson's means of answering his own question: "Why is it no one looks? Why is it no one knows how to look? Why does no one see anything on stage?" Another technique Wilson uses is that of what words can mean to a particular character. His piece, I was sitting on my patio this guy appeared I thought I was hallucinating, features only two characters, both of whom deliver the same stream-of-consciousness monologue. In the play's first production one character was "aloof, cold, [and] precise" while the other "brought screwball comedy … warmth and color … playful[ness]". The different emphases and deliveries brought to the monologue two different meanings; "audiences found it hard to believe they heard the same monologue twice." Rather than tell his audience what words are supposed to mean, he opens them up for interpretation, presenting the idea that "meanings are not tethered to words like horses to hitching posts." Movement Movement is a key element in