on the monologue

If rules exist so that they could be broken, then concepts exist so that they could be redefined. The classic theater form of the monologue is traditionally conceived as the speech of a character played by an actor. In a somewhat-less-traditional-manner the character is omitted from the picture and thus the monologue becomes only the speech of an actor. In a post-somewhat-less-traditional-manner the character comes back in the game where the actor is still present and so the monologue becomes a speech of a two folded, double entity (or any of the variations within). The show Timbuktu offers a new monologue model where, in addition to the character and the actor, a dog is present too. As a bound consequence of this innovation, simultaneous translation and synchronization appear as methods of objectifying the monologue on stage. And so a monologue for a dog on stage (spoken by an actor from the audience) is bred. Cause, we all know that dogs cannot speak. But, and this not all of us may know, there are people who understand them.

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