Overall, Romanian theater institutions make up a unique paradigm: the repertoire theater – publicly funded – namely, the institutionalization of “art theater”. The idea of “independence” however, seeks the re-introduction of risk, ephemeral, and that of mobility of theatrical productions. Thus, the independent theater pressures the “theater system” and one intriguing question arises: “Is there an overflow of people in this field or rather an overflow of ideas?” While publicly funded “state theaters” are still monopolizing the inherited infrastructure, independent productions are considered their “parasites”, a sort of a hybrid, a “mulatto”. Even more, while many “beginnings” had sprouted in the 90s, only few of them have reached fruition. Nonetheless, in Romania, we could, at least, witness a “genealogy of theater independence”.