The orthoepy of Slovene played an important part in perceptions of theatrical speech in the 20th century. However, linguistics and theatrology are separate disciplines, developing over time with their own laws. The article attempts to show that stage speech can be conceptualized as a theatrical sign (in the contemporary terminological sense) even before the 20th century, and that Župančič's linguistic view, which primarily emphasized orthoepy and, consequently, specifically conceptualized stage speech as a theatrical sign, led towards the fact that literary theatre, despite the presence of stage speech in the 1970s, was reproached for conservatism, for which we could also reproach some contemporary realizations of stage speech in Slovene theatre.
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