The recently published Springer Brief in cultural psychology presents theoretical and empirical advances on inner speech. The editor Pablo Fossa suggests viewing inner speech as a private area to remember, play and dream, rather than a mere psychological function connected to problem solving. Along the lines of this suggestion, I adopt a playful approach in order to review the volume. Rather than delivering results of an analysis, I invite us to use the academic journal platform to take part in a dialogical encounter. In the first part of this essay, I offer a transparent step-by-step process of researcher's positioning, based on remembering and playing. In the second part, I dream of research methodologies, which would allow us to explore inner speech as dynamic movements experienced by whole and dialogical beings. This experiment, in which I enact my inner speech on the academic stage, eventually lets three key-moments of Fossa's book come forward as gamechangers for future inquiries: 1. The importance of hearing one's voice in audio-diary based research, 2. the shift of attention towards experiential contexts of inner speech (such as bodily sensations or felt knowledge), and 3. the notion of thirdness as a meta-position, pointing at the mutual permeability of reflective and pre-reflective realms of inner speech. This performing review is inspired by a theatre-based practice called Dialogical Acting with the Inner Partners and represents an original contribution to researcher's self-reflexive positioning practices, as well as to inner speech qualitative research methodologies.