Involving "living beings", the theater becomes a "mirror" of the cultural identity specific to a certain space, as a "symbolic construction". By "forcing" the boundaries of the concept, it becomes, unlike the other arts, a true "identitary kaleidoscope". Not only does it reflect individuality, through the vision of the playwright and that of the director, but it also points to a collective identity. In addition to the "self-search", specific to each art form and  manifestation, as "something else is always sought", the theater constantly reflected the "I". In the post-totalitarian period, in the Romanian space, the problem of identity is manifested strongly, as pointed out by contemporary specialized criticism. The present analytical approach on the theatrical phenomenon in question aims at a synthesis of the critical reception of the post-December dramatic manifestations.

Acknowledgements: “The work of the first author is supported by the project ANTREPRENORDOC, in the framework of Human Resources Development Operational Programme 2014-2020, financed from the European Social Fund under the contract number 36355/23.05.2019 HRD OP /380/6/13 – SMIS Code: 123847. The work of the second author was carried out in the framework of the research project DREAM (Dynamics of the REsources and technological Advance in harvesting Marine renewable energy), supported by the Romanian Executive Agency for Higher Education, Research, Development and Innovation Funding – UEFISCDI, grant number PN-III-P4-ID- PCE-2020-0008.”