This paper offers guidelines for the shaping of the (spoken) language in contemporary dramatic theatre. Based on the auditory imprint from the performance of Ivo Prijatelj's Totenbirt, it answers the question of how to create stage speech from the perspective of contemporary linguistic awareness, and how to satisfy linguistic aesthetics, as well as invoke the viewer's enjoyment. The paper promotes an interdisciplinary approach, formulated upon the findings of cognitive linguistics and the role of the (performative) dramaturge.
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