In my study, I aim to provide additions to the history of acting in the era of Dualism. I contrastively examine two summer acting seasons before the stone theatre of Oradea was built, mainly emphasizing the exploration of press documents. The literature of theatrical history only touched the two seasons I study. Therefore, the articles of the local press of the time that were of smaller scale, and provided a micro perspective, put into a new philological and historical perspective the migration movements of acting in Oradea in this period of a couple of decades. From a philological and literature-sociological point of view, I have processed all the articles, news, advertisements and other pieces of information from the two local newspapers, the political and economic Oradea, and the political Freedom dailies from the period between May 1877 and September 1878. During my work, I also used the Theatrical Pocketbook documenting the season of ClujNapoca, as well as the Acting Pocketbook of 1877 from Oradea, which remained in the local archives. Unfortunately, no other theatrical resource remained in Oradea from the 1870s and 1880s. I have experienced that the newspaper articles of the time are authentic documents, as they correspond about the life, theatre events, forming public taste, and opinions of theatre critics of the period. The articles, as micro-resources, provide an insight into the logic and expectations of the local audience. Analysing the gazette resources shed light on certain new correlations. During my research, I came to the conclusion that the Theatre of Cluj-Napoca continued classical acting and represented this as the oldest troupe of Transylvania during their tours. Similarly, to the travelling troupe of Debrecen, this was a guild of actors and actresses from several locations, led by one common goal: the successful guest appearances. During consecutive years in Oradea that had already been on the track of turning into a bourgeois settlement, of the two different troupes, the Debrecen-Oradea troupe accommodated more successfully to the circumstances and audience of the city than the Cluj-Napoca troupe. Perhaps this was the reason why Béla Mándoky’s troupe was called back in 1879, as well as 1880 to the city.