Gottfried Benn is regarded as an advocate of monological art. His skepticism towards conversation and discussion corresponds to the monological structure of his later narratives. It is all the more surprising that in 1948, after a pause of over thirty years, Benn turned back to the scenic form and concluded his fictional work with two dialogical pieces: Three Old Men (1949) and The Voice Behind the Curtain (1951). What prompted the defender of the monological to write dialogues again? Based on a detailed analysis of form and language in both works, the study highlights developments in Benn's overall oeuvre, points to connections with the metaphysical-religious drama of the post-war period, and presents productions of these works that were not originally written for performance.