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Abstract:   TYPOLOGY OF THE CONSPIRACY IN THE 18TH CENTURY THEATER Three phenomena which escaped the notice of literary and theatrical historiographers characterize the revival of tragedy in the 18th century: the bird of a new tragic genre dealing with conspiracy; the use of Roman history as a paradigm of reference; the connection between political conspiracies and their projection into tragic tales with meaniful codes. This new dramaturgy of conspiracy emerges as the emblem of tragedy in the 18th century, as it encompasses the central question of the period (change or upheaval). From previous it is also possible to draw an outline of a number typologies: a) the negative presentation of a conspiracy against the king, father of the country. Pardon is granted in that love was the cause of the conspiracy (from Corneille’s Cinna to Metastasio’s Clemenza di Tito); b) the negative presentation of a conspiracy against the republic, in which the conspirators are guilty of treason (Brutus as depicted by Saverio Pansuti, Voltaire, Antonio Conti, Alfieri); c) the conspiracy against a tyrann, in which different tendencies merge in a common heroic portrait of the possible source of disorder or civil wars, completely or partially eliminates the castrophe (Il Cesare by Conti, La mort de Cesar by Voltaire), while it reverts to the visual model of Julius Caesar if the conspiracy is exhalted to the higher context of the revolution (Brutus portrayed by Alfieri).