La cantante calva
Despite its reputation for nonsense language, much of the dialogue in Absurdist plays is naturalistic. The moments when characters resort to nonsense language or clichés—when words appear to have lost their denotative function, thus creating misunderstanding among the characters—make the Theatre of the Absurd distinctive. Language frequently gains a certain phonetic, rhythmical, almost musical quality, opening up a wide range of often comedic playfulness. Jean Tardieu, for example, in the series of short pieces "Theatre de Chambre" arranged the language as one arranges music. Distinctively Absurdist language ranges from meaningless clichés to vaudeville-style word play to meaningless nonsense. "The Bald Soprano", for example, was inspired by a language book in which characters would exchange empty clichés that never ultimately amounted to true communication or true connection. Likewise, the characters in "The Bald Soprano"—like many other Absurdist characters—go through routine dialogue full of clichés without actually communicating anything substantive or making a human connection. In other cases, the dialogue is purposefully elliptical; the language of Absurdist Theater becomes secondary to the poetry of the concrete and objectified images of the stage. Many of Beckett's plays devalue language for the sake of the striking tableau. Harold Pinter—famous for his "Pinter pause"—presents more subtly elliptical dialogue; often the primary things characters should address are replaced by ellipsis or dashes. The following exchange between Aston and Davies in "The Caretaker" is typical of Pinter: