Ever since he became known to the public, Rebengiuc established himself as one of the leading actors of his generation, and won praise for both his technique and natural ability. Philosopher and critic Andrei Pleşu writes: "Victor Rebengiuc can act magnificently in any role, for he never acts in the role of 'the artist'. The only 'signal' of his specific involvement is, perhaps, the unmistakable crystal-like nature of his speech, the break-through diction, the natural attention toward the clarity of the vocal emission and the message. And this does not mean the usual affectation of the stage, the pedantic, artificial care for sound effects, for the virile imposture of the voice. It means the respect for the text, for the partner in dialog and for the language. Victor Rebengiuc's talent stems, most of all, from a certain cult for the truth [...] and a most rare ability for what is natural." The actor acknowledges having a fear for improvisation, and recounts having prepared himself intensely for each of his roles. Collaborating with important stage directors such as Ciulei, Cătălina Buzoianu and Andrei Şerban, Rebengiuc won further notability for his performances in adaptations of Shakespearean plays (Orlando in "As You Like It", Brutus in "Julius Caesar", the title role in "Richard II"), as well as in those of Henrik Ibsen (Bernick in "The Pillars of Society" and the main character in "Rosmersholm"), Anton Chekhov (Michail Lvovich Astroff in "Uncle Vanya"), Oscar Wilde (Jack in "The Importance of Being Earnest"), Eugene O'Neill ("Long Day's Journey into Night", "A Moon for the Misbegotten") and Tennessee Williams (Stanley Kowalski in "A Streetcar Named Desire"). Before Penciulescu left for Sweden, he and Rebengiuc also worked on the Bulandra version of Rolf Hochhuth's "The Deputy" (known in Romanian as "Vicarul", "The Vicar").