In my paper, I use three of Péter Esterházy’s dramatic works to demonstrate that the linguistic logic created by the author is not incompatible with the dramaturgical expectations of the stage performance’s context. The dramolettas published in the 2006 volume Rubens and the Non-euclidian Women are works created with an awareness of the needs of stage performances, and affected not only by German speech-plays, but also the traditions of comedy theatre, avant-garde theatrical forms and neo-avant-garde performance arts.