Abstract
Starting from a corpus of successive translations of Moliere’s and Caragiale’s comedies, our aim in this article is to demonstrate that modern translations / adaptations disregard the canons of present day translatology, inclined towards more and more abstract theoretical approaches. Translation practice in the area of theatre goes beyond theory and contains - maybe better than other forms of literary translation - the new acquisitions of contemporary cultural reception. Willingly or not, today’s spectator/consumer asks for the renewed adaptation of past authors. If the conservation of theatre in the new millennium as at stake, one should also understand the necessity of daringly reinventing the well-known world playwrights.