Taking as a starting point the opposition between translation for the page and translation for the stage, the present paper sets out to consider the strategies employed by 19th-century Romanian translators when rendering Shakespeare’s plays into Romanian. I will discuss two translations of Hamlet: the first, a scholarly, page-oriented translation published by Adolf Stern in 1877; the second, a domesticating stage-oriented translation produced by actor Grigore Manolescu for his own production of Hamlet, at the National Theatre of Bucharest, in 1881. The paper will address such issues as foreignizing vs. domesticating strategies of translation, transparency, the status of the translator as well as the various elements that make a translation for the page differ from a translation for the stage.