This paper attempts to show that stage directions can reveal the playwright’s point of view about the performance of his/her plays. Using the methodology and the tools of corpus linguistic analysis in a corpus of Kambanellis’ and Anagnostaki’ s plays, we argue that stage directions are mainly idiolectical in each playwright. Specifically, Kambanellis focuses on male characters’ interactive communication, their movements, their visual contact and on the space distinction indoors/outdoors. Anagnostaki, prefers pauses with many functions and refers to the heroines’ names, their face, hands and voice as indicators of hidden emotions, psychological state and their general character.
