The article analyzes the unique manifestation of one of the communicative speech strategies – the strategy of self-presentation, which, “at the suggestion” of the author, is quite actively implemented in modern plays by their characters. The analysis is based on the work of Nikolay Kolyada (the play Wedge-Wagon from the dramatic diptych Two Plus Two). The fact that the characters in the plays are imbued with this kind of speech-behavioral lines is essentially determined by the parameters of drama as a literary genre, which significantly limit the “presence” of the author in the work, and somewhat narrow the possibilities for the manifestation of the characters in it (as compared to the character of prose, in particular). In a communicative-speech strategy implemented in the process of unfolding the dramatic action, at different stages of its implementation various communicative-speech tactics can be actualized, the choice of which (both at the conscious and subconscious levels) is determined primarily by the communicative goals of the addressee; however, it is unconditionally influenced by the type of the linguistic personality of the communicator, as well as his emotional and psychological state in a specific communication situation. In the process of communicative interaction, the communicator’s speech-behavioral line can transform (sometimes quite signifi cantly), and therefore at diff erent stages of communication certain tactics (set of tactics) are actualized. The list of communicative speech tactics currently identified can be supplemented and/or clarifi ed by means of considering the text of modern drama discourses from the perspective of communicative stylistics as well, which in this case seem to be very “valuable” research material.