Stoppard would return to the theme of artistic dissent against the Communist Party of Czechoslovakia in Rock 'n' Roll.
Because Kohout and some fellow actors had been barred from working in the theatre by the communist government due to their involvement with Charter 77, he had developed an adaptation of Macbeth to be performed in living rooms.
When he appears in the living room audience in Cahoot's Macbeth the reverse is true: he is the only character who speaks Dogg on a stage full of normal-English speakers, and once again completely baffles characters (as the homeowner puts it, "At the moment we're not sure if it's a language or a clinical condition") until several of them, most notably Cahoot, are revealed to also speak Dogg.
When it is repeated in Cahoot's Macbeth, under the eyes and ears of a secret policemen, we now understand it to be the voice of Resistance, subversive and in opposition to the powers-that-be.
It is a thrilling demonstration of a coded language developed and used by artists in a totalitarian state, apparently innocuous, but full of meaning and inspiration to those who have learned to understand the coded language: a tribute to Kohout and others forced to live in such conditions.