Most researchers consider speech as a unit of pragmatics. We believe that the pragmatic interpretation of a text starts from the idea that literature, as an act of communication, can be singularized by the way in which the relationship between the transmitter and the receiver is created and operates. The speech is assigned the act value (proposal activity) of language, spoken or written, in the communication process generating the text (communication unit), which, in turn, receives product appropriation, being an achievement of the communicative intention of the transmitter. The dramatic speech is once written by an author and addressed to well-advised readers, but he also needs a second statement, the theatrical one, which bases his reception by the public. The dramatic discourse must take into account the norms of another art (the theatrical one) in its conception and elaboration. Among literary genres, the most difficult problems of reception are the dramatic genre, because the texts that belong to it can be approached in two different ways: either through reading or by staging. The dramatic speech is of great importance, because without dramatic speech, one cannot direct a theatrical performance. We believe that a show can be presented through sounds, lights, music, clothing, but can no longer be considered drama, but choreography, instead, the dramatic show is syncretic, makes use of several subsystems
Ina Driga (Mon,) studied this question.