The aim of the thesis Josip Kulundžić's Expressionist Theatre and Pirandellism is to present Josip Kulundžić's Expressionist plays and his theoretical view of contemporary drama and theatre as well as to explain his unique relationship to the artistic and theoretical views of the Italian writer and playwright Luigi Pirandello. Josip Kulundžić emerges as a playwright at a time when Expressionist poetics was most pronounced and dominant on the literary and theatrical scene in Europe and Croatia. His fascination with Expressionism will, to a greater or lesser extent, accompany Kulundžić as a playwright throughout his entire dramatic oeuvre. In the first phase of his Expressionist dramatic creation, Kulundžić's plays will represent typical, paradigmatic Expressionist features and will be strongly influenced by German dramatic Expressionism. In the second phase of his Expressionist dramatic creation, his plays will increasingly take on the characteristics of national literary and theatrical Expressionism, thus securing Kulundžić's position as one of the most prominent and prolific Expressionist playwrights of Croatian Expressionism, whereas in the last dramatic phase, the belated Expressionism, Kulundžić's plays will display a specific combination of Expressionist poetics and other dramatic poetics that appear at that time, such as psychological, social, existential, but also realistic dramatic poetics. Josip Kulunžić's unique and peculiar, often contradictory, but certainly original position on Luigi Pirandello's dramatic creativity and theoretical worldview and Pirandellism will be presented and explained in several parts of this thesis - in the presentation of individual plays and in separate chapters at the end of the thesis. In his theoretical and critical essays, Kulundžić often attacked and challenged parts of Luigi Pirandello's poetic structure and theoretical thought, whereas in his dramatic texts he sometimes tried to challenge the principles of Pirandellism on concrete examples, and then at other times embraced them completely. Similarly to his connection with Expressionism, Kulundžić also had a special connection with Pirandellism throughout his dramatic oeuvre, which was manifested in his unique Pirandellist Anti-pirandellism. Josip Kulundžić, as will be presented in the paper, was a wholehearted man of the theatre, a kind of homo teatralis, a playwright, a theatre director, a theatrologist, an academic professor, an associate and an editor of theater magazines, a theorist and a drama and theatre critic and one of the key figures of Croatian dramatic Expressionism, as well as of Croatian literature and dramatic art of the first decades of the twentieth century. His artistic and professional work in the field of drama and theatre is extremely important and significant for Croatian literature, drama and theatre of the first half of the twentieth century.