An artistic text, as a birth that has to do with language environment, in addition to verbal specifics, is affected by linguistic thinking of the epoch. Characters in a Greek tragedy spoke in a completely different style, the speech of Shakespearean heroes was dissimilar, Chekhov’s actors speak differently in their roles, and today’s stage characters speak even more differently. It is precisely the epoch that contains the linguistic vulnerability of those characters, the one that lies in the realm of sensory experience of an actor. This is all the more true if the speech of such performers consists mostly of slang and strictly mundane emotions. In particular, the word KYANQS, in which case the poetic, high-style and passionate speech of Shakespearian heroes becomes perceptually difficult for him and practically unachievable. Borrowed from the slang of prostitutes, the primitive and noxious word, by its very presence, makes inaccessible emotional nuances of love expressed by the sonnet language of Romeo and Juliet, Hamlet and Ophelia as well as the tone of their corresponding reproduction.