To show in a theatrical event, as largely and visibly as possible, human solitude and the absence of communication—this became Adamov's goal in turning to the theatre. (pp. 110-11)

Adamov's characters do not really communicate with one another. Human understanding is very problematic. He consciously creates a dialogue in [L'Invasion] which makes the characters speak past each other…. In writing for the theatre a dialogue that "drags along," he is thereby intensifying an image which sees man unable to transcend his situation through flights of language. We must also note that it is precisely the language of the manuscript that is so problematic for Pierre [in L'Invasion]. No single word is unambiguously identifiable and thus capable of carrying a precise meaning. A language which does not communicate, which limps along, which is even obscure in being written down, is a language that intensifies Adamov's vision of man...