The paper is introduction to the metamorphosis of the Slovak stage design from the 1970s up to present. The author focuses on the expansion of conventional theatre space in the Slovak context (auditorium/stage) by new acting locations (street, square, railway station, i.e. site-specific locations) and other changes related to modernism, post-modernism and trans-culturalism in the arts/ the theatre. Today, stage design reflects the feelings and a flurry of emotions of an individual and of the society. It makes use of the state-of-the-art technology not only to finish off a message but also to disintegrate an idea, a plot and to act as a counterpoint to the word or the theme. On the one hand, it is dynamic and polyfunctional, on the other hand, it is static and semiotic. New theatre forms reflect the time we live. The story has disappeared from the theatre and it has been replaced by the images, emotions of an actor/performer, thus representing his/their (self) knowledge. Oftentimes, the stage designer is within the performer who lives the time together with “his/her” audience.