One of the most prevelant mistakes made by playwrights is that of writing excessive stage directions and emotional cues. In reviewing plays, I all too frequently read scripts where the dialogue is filled with dozens of emotional cues - those italicized directions in parentheses that are usually indented and before or after a character's speech. Generally, these are directions to the actor for some movement, but they may also be used for emotional guidance and even background information.
Emotional Cues
Often, though, the playwright will use these to add directions such as (Sarcastically.) or (With venom.). It is better to rewrite the speech so that the sarcasm or venom or whatever emotion is built into the dialogue's words.
One person's interpretation of what the emotion is supposed to convey is likely to be different from another. For example, let's say the line is "I'm not sure anymore," and the emotional cue is (Pensive.). The director or actor in the play may go for a pensive facial expression, but end up with something that looks more like deep pain than deep thought.
But if the line is written with the pensiveness in it, then there is no question about the interpretation. For example, the line may be rewritten as "I'm not ... I don't think I'm sure anymore."
Also, in the eager actor's attempt to make sure all the playwright's directions are followed, that actor may over-emote, coming across as a bad melodramatic player.
Actor Movement
This is the more generally used purpose, such as (SHE sits.) or (HE quickly exits, slamming the door on his way out.)
When used for this purpose, the actions should simply state what the actor does. However, some writers try to add motivation to the movements, such as (Thinking he's alone, HE moves to the window and waves his arm.).
While this seems like it should be helpful for the actor, consider the action: a man moves to the window and waves his arm. If the rest of the scene is written explicitly, the audience might see another person in the scene, who then appears to leave, but doesn't. If done well, the audience would know that the other person hasn't really left, and infer that the man doesn't know that.
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