In the appreciation of the theatrical performance, researcher Leonid Cemortan relies on the principles of aesthetics as a science of beauty, as a philosophy of Fine arts, which determines the criteria of value judgment in the artistic sphere, the relationship of the theatrical performances with the reality and the truth. His aesthetic visions on this cultural phenomenon is the key to opening up the significance of the performances. In monographs, theoretical articles, in reviews of performances, L. Cemortan relies on the categories of tragic, comic, dramatic, using the concepts of sublime, ideal, image, truth, realism. The aesthetic visions of L. Cemortan are expressed more broadly in revealing the significance of the performances Sânzeana and Pepelea, Ovidiu by V. Alecsandri, Casa Mare by I. Druţă, King Lear by W. Shakespeare; Păsările tinereței noastre (The birds of our youth) by I. Druță; Auditor (Revizor) by N. Gogol; Solo pentru orologiu (Solo for Horologe) by O. Zagradnic, Azilul de noapte (Night Asylum) by M. Gorki, Ciocârlia (The Lark) by J. Anouilh; Doina by I. Druţă; Tata, Abecedarul, Pomul vieţii (Daddy, The ABC, The Tree of Life) by D. Matcovschi. L. Cemortan stated that the theater must fulfill an aesthetic mission, spiritually enrich people, contribute to the development of national culture, stimulate social thinking, and by this enhance its social importance.