On the basis of communicational aspect of the theory of reception, this paper represents a concise expose on Harold Pinter’s multi decennial dialogue with Serbian literary and theatrical audience. Upon a thorough investigation of biographical and archival data, much like of publication and translation of Pinter’s works, this research challenges and affirms the indomitable presence of the, so called, Pinteresque idiom in the unsteady ground of Serbian theatrical history. This liaison between the Nobel awarded revolutionary author and a small culture in transition, was by no means obvious, nor typical one. For that matter, this paper unites quantitative and qualitative approach to the task of describing the nature of reception of Pinter’s work in Serbia.