Chung, MoonyoungBy the time of Pinter's declaring that he would no longer write any plays and concentrate instead on poetry and political activism and his winning the Nobel Prize in Literature in 2005, his body of dramatic writing needs re-viewing 'in retrospect.' Pinter provided us with a new standpoint from which we can reflect on his plays, by celebrating the great occasion with the Nobel lecture delivered directly to camera, in other words, with a Pinteresque political theatre. His speech is an urgent and compelling appeal for world-wide spectators as citizens to see our catastrophic situation under "a vast tapestry of lies" generated by 'major' political language. It is the catastrophic situation of the world that makes him stop writing for theatre, i.e., smashing the mirror. An intertextual reading of Pinter's political discourses and i ek's catastrophic discourses provides us with an effective strategy, i.e., "catastrophist strategy" with which we can use in reflecting Pinter's plays. Reviewing his plays, especially his last play Celebration, in retrospect after his radical declaration of catastrophes in theatre and our globalized world lead us to 'the time of a project' in which we can see Pinter's past world and new potential future.