One of the great people of our theatre, an innovative director and teacher of his time, Leonidas Trivizas brought up more than one generation of actors, staged works of the classical and modern repertoire, identified himself with the Circular Theatre, founded a popular experimental stage, participated in the revival of ancient drama.

He remained in the social and political theater for years, he had supporters in the theater world, including Alekos Alexandrakis, Dimitris Horn, Xenia Kalogeropoulou, Yiannis Fertis, Eva Kotamanidou, Aleka Paizis, Nellis Angelidou, as well as Marios Ploritis, Kostis Skalioras, Petros . Markaris and others a.

Some of those who have met him and seen him speak claim that “he was offended” and that his contributions were not properly recognized. Leonidas Trivisas studied at the Faculty of Law of the University of Athens, as well as at the Drama School of the Art Theater, from which he graduated in 1956. Two years later, together with other alumni such as Kitty Arseni, Kostas Kazakos, Marta Voortsis, they formed his troupe Free Theatre, making long tours of Northern Greece. He has also collaborated with the Kostis Livadeas New Stage.

After his first attempts at directing, in 1961 he founded the Round Theatre, which existed for two years in the basement of an apartment building, until it ceased operations after a resident complained about non-compliance with urban planning standards.

L. Trivizas continued directing at the National Theater with the company of Alex Alexandrakis, and in the summer of 1963 staged the widely discussed Magic City, which mixed songs by Mikis Theodorakis and Manos Hadjidakis at the Park Theatre. Musical and theatrical performance with a lot of music and words staged by Trivizas. “These are childhood memories of Mickey and me,” M. Hadjidakis wrote on the programme. “This is a dramatic piece. Lyrics have a social content and, oddly enough, erotic. This is the dramatic element of the lyrics. I can also tell you that we are absolutely convinced that the “Magic City” is a historical work with the tragic fate of great works. In other words, it will never be reproduced anywhere else. That’s why the whole world has to run to see it…”.

Two years later he was hired by the National Theatre, where he staged Aristophanes’ Plutos with conflicting opinions, also based on a play by Chekhov and a play by Pirandello, and in 1968 he directed Dimitris Horn in Molière’s Don Giovanni. Then he went to Paris, and when he returned in 1975, he founded the People’s Experimental Theater (and school), in which he staged 28 performances.

The theater expert Konstantina Ziropoulou, having studied the repertoire chosen by Trivizas at that time, divides it into four axes: “faith in the social mission of the theater and the need for political intervention, the search for new, hitherto unknown, works for the Greek public, the popularization of domestic drama and the availability of stage experiments with various theatrical genres and dramatic forms. Among other things, she stressed that the work of the troupe “has caused controversy, controversy, positive and negative reviews and, above all, actively participated in the theatrical events of its time.”

His performances caused controversy, criticism, as well as himself, his attitudes and comments about theater grants. Since 1984, when the Folk Experimental Stage on Trikorfon Street fell silent, its creator returned in 1996 to the troupe of Kostas Kazakov, staging King Lear, and in 1998 – The Merry Wives of Windsor. In the minds of the old creators and representatives of the theater, he remained one of the innovators of the Greek theater.