Since the time of Oton Župančič's systematic design of stage speech in the first half of the 20th century and the publishing of Mirko Rupel's Slovensko pravorečje (Slovene Ortho-epy, 1946), the linguistic reality, particularly because of radical global social changes, has been noticeably transformed. Theatre practices and the function and form of stage speech have also changed. The article seeks to determine (using the results of a survey) the current relevance of orthoepy in the creation of a contemporary stage standard-speech realization.
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