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What have been the conditions of production for a political theatre to appear in post-1990s Romania? How and why contemporary theatre in Romania ended up ignoring or dismissing the leftwing, engaged or militant theatrical movements active before 1945? Why local theatre history and theory entirely obliterated, also, the politically-engaged theatre forms active during communism itself? What kind of tradition forms the contemporary political theatre, what is the politics that informs their working practices and collaborations, how do the artists engage with the groups they choose to give voice and with the audience? Using a broad and on-purpose multi-faceted definition of political theatre, the article focuses on theatre artists, practices and performances that question capitalism as a social and power structure, sometimes from an intersectional perspective, but always framing this criticism in a class approach. Largely a practice-based analysis, the text gives a comprehensive on-going history of a strong performative movement and its challenges, from the representational strategies and the financial and positioning issues to the scarcity of critical covering and reviewing and the extending of an (opposite) political engagement in the mainstream theatre in Romania.

Genealogy of Political Theatre in Post-Socialism. From the Anti-“System” Nihilism to the Anti-Capitalist Left