Shaw and above all The Diary of Anne Frank (1957/58) at the Montparnasse Theater and The Annunciation Made to Marie by Paul Claudel at the Work.
It was then that he entered the Comédie-Française, already a seasoned actor whose exemplary diction, intelligence and bearing soon made him an indispensable part of the troupe.
Racine's great confidants (Paulin,Berenice; Narcisse, Britannicus), the noble fathers of Corneille (Don Diègue, Le Cid; Auguste, Cinna; the Old Horace, Horace; Félix, Polyeucte and Sertorius), the Don Sallust of Ruy Blas are close to the characters, with a metaphysical dimension, of Claudel (The Hard Bread, The Hostage) and Montherlant (Malatesta, The Master of Santiago, The Cardinal of Spain), as well as those of ancient tragedy (Oedipus the King, Oedipus at Colone, Antigone in Brecht's version) .
[2] He directed André del Sarto and Bettine by Musset, Bajazet by Racine, L'Ecole des femmes by Molière, L'Apollon de Bellac by Giraudoux, Le Carrosse du Saint-Sacrement by Mérimée, Monsieur Le Trouhadec seized by the debauchery of Jules Romains, The False Confidences of Marivaux, A Caprice by Musset and The Barber of Seville by Beaumarchais.
After the success of his interpretation of the title role of Sertorius by Pierre Corneille, he left the Comédie-Française and the theater in full glory.