Abstract
To put on a text means to actualize it. To pursue this aim, the text must be near to the interpreter, to his language. The problem of impossible translation: how can we translate the nonsense par excellence from English to Italian and from there to the language of theatre without a double substantial betrayal? First, we can do so by listening to the author through precise signs inside his work; then, by getting closer to him in the creative process. Because of the importance of sound on scene, the relevant points of this type of translation are the sound and the rhythm. Furthermore, for the text to be acted on scene, it has to contain precise signs that can live through the interpretation.
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