What really matters are not the biographical accidents, the sufferings and joys exposed to the public, but the marking of a human presence, the actor's investiture as a messenger beyond the roles of the stage. The whole performance suggests that the artist is the (human, civic and political) conscience of the community, called to express it. The diary also initiates a reversible process of making artists and the institution aware of their role in the community, in redefining repertory stakes oriented towards the audience.

Oana Cristea Grigorescu: Jurnal bilingv de Timişoara [Bilingual Journal of Timișoara], Observator Cultural
 

What the performance produces is an awareness of the direct relationship between man and city, between the personal past and the future of the metropolis. And it also produces a distancing, a sterilization of pathos (not emotion) that allows the eye and mind to be lucid. The six actresses from the German State Theatre Timișoara (Ida Jarcsek-Gaza, Tatiana Sessler-Toami, Daniela Török, Ioana Iacob, Olga Török, Silvia Török) subsequently/partially question the presence of the institution in the cultural life of the city, and the impasses in their careers, and the role of theatre today.

Oana Stoica: După 30 de ani [After 30 Years], Dilema veche

Romanian Diary. Timișoara is a multidisciplinary project, which brings together cinematography, photography, and theatre, and it builds upon a series of unexpurgated and immediate confessions, a genuine reflection of interpersonal relations, decisively influenced by the urban environment, but, equally so, a call to social and community involvement. The architecture of the production is determined by the actresses' biographies, which unearths the parts played by parents, friends, strangers, and the city – through its inhabitants, neighborhoods, artists and the local administration, in defining us as individuals – spanning from the nostalgia of the first experiences to the immediate present. The confessions are built almost exclusively on the life experience of the actresses, whether its junctures of happiness or pain, success and failure, trauma and depression, or alienation and belonging.