Camée, forged the signature Symbolist acting style that conveys a reverie, with its hieratic movement and gestures, matched with solemn, psalmodized line readings. After the disappointing plays of the March 28, 1892 program, Fort called a halt to the Théâtre d'Art. Lugné-Poe put his talents to staging and acting in noteworthy plays with the Cercle des Escholiers, which culminated with Ibsen's The Lady from the Sea (1892). It was only the fourth French-translated Ibsen play to open in Paris, after Antoine's landmark productions of Ghosts in 1890 and The Wild Duck in 1891, and Albert Carré's production of Hedda Gabler in December 1891. When Lugné-Poe reconstituted the Théâtre d'Art as the Théâtre de l'Œuvre in 1893, he would make Ibsen his specialty in Paris theatre, premiering (and often starring in) nine Ibsen plays between 1893 and 1897. Théâtre de l'Œuvre Like Paul Fort before him, Lugné-Poe never secured a permanent stage for the entire run of his company's initial art-theatre experiment. The Théâtre de l'Œuvre debuted with Maeterlinck's Pelléas et Mélisande for a single matinée performance at the Théâtre des Bouffes-Parisiens in May 1893, but the six engagements in his next season occurred at the distant Théâtre des Bouffes du Nord, where he premiered Ibsen's Rosmersholm, An Enemy of the People, and The Master Builder, Gerhart Hauptmann's Lonely Lives, and Bjørnstjerne Bjørnson's Beyond Human Power, among others. For the May 1894 production of Henri Bataille and Robert d'Humières' Sleeping Beauty, he secured Nouveau-Théâtre's space for the first time. Though he concluded the season with August Strindberg's Creditors at the newly built Comédie-Parisienne (later known as Louis Jouvet's Théâtre de l'Athénée), he quickly assumed the directorship of Nouveau-Théâtre for most of the 1894-95 season. There he premiered Maeterlinck's adaptation of John Ford's 'Tis Pity She's a Whore (Annabella), Beaubourg's The Mute Voice, Strindberg's The Father, Śūdraka's The Little Clay Cart, and Maeterlinck's Interior, among others. While his May 1895 productions (including Ibsen's Little Eyolf) were staged at the Théâtre des Menus-Plaisirs, he returned to Nouveau-Théâtre to conclude the season with Ibsen's Brand. The 1895-96 season found residence at two locations. Lugné-Poe staged the first half of the season back at the Comédie-Parisienne, with a line-up that included Thomas Otway's Venice Preserved, Kālidāsa's The Ring of Shakuntalā, and Oscar Wilde's Salome. The second half, however, starting in March 1896, began over two-years' residency for the Théâtre de l'Œuvre at Nouveau-Théâtre. Most notably,