The article deals with specific memory procedures in contemporary drama, which, despite the apparent absoluteness of the present, often use memory in order to produce dramatic effects, but no longer as the continuity of memory in the sense of St. Augustine and his Confessions, but as the discontinuity of memory in the sense of Beckett's heroes and their specific memory that deconstructs the validity of itself. On the basis of the specific cases of (no longer) dramatic tactics from late modernism to (no longer) post-dramatic, we will try to show the transformations of the drama of memory and remembrance. We will start with the uncertainty and the erasure of the memory in late Becket, continue with examining memory and personal and common identity in the work of Dušan Jovanović, and conclude with the postmodernist volatility of the collective memory of the newer history and present, as depicted in the works of Simona Semenič. Our thesis is that the synthetic model of drama construction is not without alternative. In modern drama it was replaced by an analytical and “narrative” model of building the dramatic structure. Thus the memory was emancipated from the primacy of the absolute drama and, contrary to the Augustinian narrative, which depicts the past through the memories of the heroes in the present, and thus ensures their identity, the heroes of contemporary drama are being robbed of traditional forms of memory and narrative.