As the central question of this thesis, anti-mimesis arises as an ideational and poetical fact which marks the expressionist dramas of Kalman Mesarić, who is frequently disregarded by Croatian literary histories. The first part of the thesis places Mesarić in the context of the early days of the Croatian avant-garde scene and further describes the paradigm of expressionism – its duration, characteristics, and theoretical assumptions. The second part of the thesis discusses the aesthetics of expressionism. An overview is provided of the development of asethetics, along with the the aesthetic and conceptual tenets, starting with ancient culture, in which Plato and Aristotle stand out as the foundation of the development of general Western aesthetics. Then follows the description of the aesthetics of expressionism and the turn to anti-mimesis, primarily through the work of Friedrich Nietzsche, a central theoretical figure to whom the entire expressionist generation looks up to. The third and central part of the thesis consists of the analysis of two of Mesarić's expressionist plays: „Kozmički žongleri“ and „Čovjek ne će da umre!“. These dramas are approached from the standpoint of expressionist poetics, which is essentially antimimetic. Mesarić's construction of characters, time, and space, as well as their distortion, help to include his expressionist dramas in a set of dramas created through a resistance to classical standards of beauty and harmony.