This paper discusses the position of stage directions as secondary text in contemporary theatre dramas with a thorough analysis of four dramas. In contemporary readings, the discourse on stage directions is approached in a way that it breaks the conventions and alternate solutions, with the aim of innovation. Stage directions are given autonomy so, for instance, they are transformed into a character, while in stage directions area, authors speaks in a new way making self-deprecating comments, very often refuting what his or her characters say in their response, explaining thusly the character’s real internal psychological state of mind. Stage directions are observed in a theoretical sense and so are the classifications by different theoreticians, diachronic analysis which involves medieval mystery plays, W. Shakespeare, A. P. Chekhov, E. Ionesco and T. Beckett, that is their treatment and approach to stage directions. Particular accent has been put on distinctive style of contemporary playwrights Ivana Sajko and Biljana Srbljanović, who, with their specific treatment of stage direction, shed a new light on that mostly neglected part of the text. In that way, in their plays, the dramatists put focus on stage directions so stage directions blend with narrator’s monologue, become a character of their own or we can even witness an epic mounting of author’s comment (Sajko) or they even enable transposition in the literary genre of prose, given their multiple functions and literary pretensions (Srbljanović).