Chapter 7, ‘Inventing New Forms of Political Theatre’, covers the 1960s and 1970s. It situates the chosen productions in the socio-political climate of the GDR—that is, within the discussions on the leadership of the Party—and in the Federal Republic of Germany, where the anti-authoritarian movement, the student movement, and the emergence of the Red Army Faction provide the context. The aesthetics of Benno Besson’s Oedipus Tyrant (1967, East Berlin), Hansgünther Heyme’s Oedipus (1968, Cologne), Hans Neuenfels’ Medea (1976), and Christoph Nel’s Antigone (1978, both in Frankfurt/Main) is evaluated in terms of their contribution to this discussion and their political stance. The last three productions serve as examples of how the Bildungsbürgertum—still the majority of the theatregoers in West Germany—wanted the politicization of theatre to be not merely justified but mandatory.