FEDERICO GARCIA LORCA’S SUBVERSIVE THEATRE interrogates how the playwright employs subversion as a theatrical tool not only to foreground but also articulate social realities, challenge extant theatrical ideals and in the process, clamour for social change. Consequently, the present study examines Lorca’s theatre using two of his plays that constitute the rural trilogy: Blood Wedding and Yerma. Using Psychoanalysis and Deconstruction theories, a close textual reading and analyses of the two plays is carried out. The study explores various issues in Lorca’s theatre such as the conceptualization of his theatre, the use of Mithexis as opposed to mimesis, tragic heros and heroines as rebels, stylistic subversion, social subversion, the metaphor of time and binarism. Therefore, the text contributes immensely to the understanding of Lorca’s theatre and is a significant intervention in the study of drama and theatre.