In this article, some methods are mentioned for developing the theatrical language by giving information of “theatrical language" since the arising of the language in obsolete terms, and today, and also by examining the problems. Being able to talk meaningfully in the theater stage is a skillful art. Maybe, to be able to convey the idea of the poet, his/her world outlook and his/her feelings from the bottom of the heart as such, also conveying the speech norms without breaking them to the ear of audience in a fascinating way in adverse of a repellent way is the most difficult one. Because of this, “the word is the mirror of the idea". The importance of the theatrical language should not be perceived as only a post, it is “as the yarn that the culture carpet is weaved from". Thereby, it is a tool which transposes our culture and our life style from generation to generation. At the time of creativeness, the “word" comes out from the poet, “the word and feeling" art comes out from the actor. If it was not so, the audience could read the texts of the work himself/herself instead of going to the theater in order to see the performance. The fundamental works by the Turkish, Kazakh and English scientists have been taken as a basis for the research done.