The issue of the word’s sound shell and the interdependence between emotion and word is still under discussion, especially nowadays, when the quality of communication is not a concern anymore, both on and off the stage. The ability to detect the partner’s voice tones is unusual, it allows an actor to hear sounds, modulations, unheard until then, unseen, and mysterious tones. The habit to hear and understand the “language of emotions” is valuable without which an actor cannot exist in an indirect dialog, where the text is different from the subtext, or even opposite sometimes. The intonational expressiveness of speaking depends also on the sensitivity, the person’s emotional receptiveness that directly depends on the affective hearing. This is possible only when having a developed verbal perception seen from two angles: auditory and affective
