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I intend to demonstrate that the extreme circumstances of war-torn Paris were largely responsible for the classification of these complex works and their authors as either pro-Resistance or pro-Collaboration, a binary opposition I will challenge. These premières will be scrutinised by examining the plays’ scripts, the circumstances surrounding their composition, the acquisition of a performance visa, public reactions and critics’ interpretations from before and after the Liberation of August 1944. Playwrights and critics have made bold claims for five plays that allegedly conveyed hostility towards the occupier or somehow encouraged the French Resistance movement. This study aims to establish whether the performance or reception of a ‘theatre of resistance’ was possible amid the abundant and popular literary theatre seen during the Occupation of France (1940-1944). Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. University of Birmingham Research ArchiveĮ-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. THE PARISIAN STAGE DURING THE OCCUPATION, 1940-1944: A THEATRE OF RESISTANCE?Ī thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHYĭepartment of French Studies College of Arts and Law The University of Birmingham August 2009