Beckett mixes together Irish, French and English in combination with extremely specific stage directions that describe exactly how he wants a thing to be said or an action acted, for example “[ he stands up laboriously, limps to the far left, stops, looks into the distance with his hand shielding his eyes, goes to the far right, looks into the distance.]” and also used specially chosen words often sprinkled throughout the dialogue to describe exactly how he wants a character to react. or emotes like “[angrily],” “[distinctly],” and “[grotesquely stiff]” as if to indicate that Beckett himself doesn't trust language alone to communicate exactly what he wants. The absurd idea that “What happens on stage transcends and often contradicts the words spoken by the characters… means that the audience must pay attention, consider what lies in the gaps between word and action” can also be applied to Waiting for Godot because at the end of the show Vladimir and Estragon agree to "go" vocally, but the director after saying "[they do not move]" contradicts their agreement and thus creates a comedy from the contradiction since it is absurd that they outwardly agree to do something and then completely ignore what they both said. The structure in Waiting