This paper examines two experimental productions of ancient tragedy from the 1974- post-junta period when many revisionist theatre strategies were put into practice; Trojan Women (1977) and Seven against Thebes (1982) were staged according to Yannis Tsarouchis’ vision of total theatre and innovative aesthetics. The paper focuses mostly on Tsarouchis’ radical spatial choices placing these productions in real, found places instead of conventional theatre spaces. In both cases, a parking lot at Kaplanon Street in the urban centre of Athens and a piece of land in the rural outskirts of Thebes, Tsarouchis practices a radical, expanded notion of the stage, reinvents the dominant outdoor performance space paradigm and sets the agenda for early site-specificity in Greece. A further discussion of these locational spatialities is informed by interdisciplinary concepts and critical ideas from the current epistemological spatial turn.
