The theatrical language of Paris Takopoulos is as recognizable and distinct as his laughter. In his texts, whether they are poetry, novel, short story, or essay-critique, there is a constant dialogue. In other words, everything is theater. Even the monumental Eastern Empty Testament, currently in two volumes, the most anarchic, linguistically and illogically technical, Greek novel-Ilissos, as easily understandable as Joyce's Finnegans Wake from the other side of the Liffey River, is also theater. Something else, however, very - even tangentially - natural, because it owes its biblical Genesis to the Last of the Monikins, his first one-act play, without beginning or end, which almost became the beginning of the end of the author himself. His theater is an act of subversive language, and language as a subversive act, and it belongs to both the future and the present, and for this reason it is not in danger of becoming a reversible past.