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Theatrical triumph and political ambiguity: Le Soulier de satin at the Comédie-Française in 1943-1944

area which can be seen, with the benefit of hindsight, to have been characterized by varying degrees of ambiguity and equivocation.’ The present article is concerned with a case which lies within the latter category. It analyses some of the circumstances surrounding a particular theatrical production which was retrospectively claimed either as an expression of cultural resistance, or as a form of collaboration. In particular, it focuses on the play’s author, Paul Claudel, whose behaviour in relation to the staging of the drama highlights the ambiguous political status of the production