"If we shadows have offended, Think but this, and all is mended, That you have but slumber'd here While these visions did appear. And this weak and idle theme, No more yielding but a dream, Gentles, do not reprehend: if you pardon, we will mend: And, as I am an honest Puck, If we have unearned luck Now to 'scape the serpent's tongue, We will make amends ere long; Else the Puck a liar call; So, good night unto you all." Puck, in Shakespeare’s 'A Midsummer Night’s Dream', is like the hand of the devil or god. A clever, mischievous elf, jester to Oberon, the fairy king who stirs up trouble after feuding with his wife Titania, the queen of fairies for custody of a changeling boy. While his presence shape the general narrative of Shakespeare’s comedic play, his acts point out a twisted use of alchemy and a perversed form of communication. His adapted monologue becomes a stimulant of the show aiming to apologise and promote the absurd and abstract tone of the way artistic collaboration of Pierre Clement and Bora Akıncıtürk assembles itself. Their collaboration, throughout the process of making, creates its own gradual fiction, thus it becomes a persona of absurdity and trickery. Truth in their possession becomes only a contemporary subjectivity of fictional, a degenerated fantasy, an empowered chaos and a sense of absurd uncertainty. The works reshape themselves as the remedies of this trickery and become validated solutions, and cures of the so called dream.