Two major theoretical requirements should be fulfilled before embarking on an attempt to suggest an adequate description of stage metaphor. First, an appropriate description of verbal metaphor is mandatory. Such a prerequisite does not imply that stage metaphor is a derivative of verbal metaphor; it assumes, rather, a common deep structure underlying both verbal and stage metaphors and recognizes the fact that theories of verbal metaphor are much more advanced. There is no way to avoid striving for a unified theory of metaphor, which assumes the existence of a common deep structure, and explains the generation of both particular types of metaphor. Second, an appropriate description of theatrical language, which is a particular case of iconic communication, is also mandatory since, according to the same premise, differences in the structure of metaphor in varying languages should be accounted for on the grounds of the specific features of the respective languages.