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Through history, performing arts such as theatre and film have been recognized as more affective, provocative and politically problematic than the written word. By studying adaptations of Bertil Malmberg's manuscript Excellensen, the aim of this article is to address the effects, problems and consequences of attempting to perform what, at the time, was regarded unmentionable. The place and time under study is neutral Sweden during the Second World War, a period saturated by elevated levels of legislation, surveillance and censorship. Recent adaptations of two controversial manifestos are also addressed, mainly in order to show that performing the unmentionable still is a pertinent and controversial issue. Adapted from the source document.