This article aims to reveal, through the myth of ascension and fall of the comedy „The pedestrian of the sky” of Eugène Ionesco, the uncertainties and fears of a violent future and of a danger always lurking in his contemporary society. Sequel to „The Killer”, the comedy is a clear stance towards history, conformism and courage of writers to fight against contemporary events and their ideologies. The approach proposed in the article is, in particular, the social one, where the usual and the imitation awaken the same mechanism of the collective consciousness. When Bérenger, the main character, begins to walk "above the meadow", therefore he does not fit into the norms of the crowd, the group is amazed and begins to react. The strange and unprecedented behavior of Bérenger, apart from the initial general disapproval, also arouses curiosity. "Everyone tries to imitate him", bouncing along, and "the environmental psychology increases until it becomes an unconscious bond with the environment itself."1 The allegory of Bérenger's flight, like that of Icarus, beyond the usual aspiration to flight, is a harsh criticism of totalitarian regimes and ends in a disturbing way, with an apocalyptic vision of the world. Bérenger's dream turns into a nightmare, the "faerie" into catastrophe and the primitivism into barbarism. The flight turns into a fall and Bérenger returns from his disturbed journey, full of a traumatic experience.