texts with emphasis not only on the meaning but the rhythms as well as physical exercises and improvisations. The sessions ended in June with a charade presented before Copeau and a few friends of the Vieux-Colombier which le patron found quite satisfying (Registres VI, p. 225). At the end of the shortened spring 1920 theatre season, the Vieux-Colombier, although an aesthetic success, found itself in debt. The theatre, now smaller because of the apron that extended from the stage, was barely economically viable. Copeau called upon the generosity of the Friends of the Vieux-Colombier who helped fill its coffers. The school, meanwhile, lacked sufficient space to expand its enrollment or its curriculum. Despite efforts on the part of Jouvet during the summer, no suitable space was found. The school started up in December, using space on the second floor of the building that housed the theatre. Suzanne Bing was again in charge of the young people between the ages of fourteen and eighteen years old, and Copeau also offered a course of the "History of the theatre." But this experiment was far from the elaborate program that Copeau had in mind. The 1920/1921 season at the Vieux-Colombier began with popular re-runs from previous season, opening with Vildrac's Le Paquebot Tenacity followed by Nuit des rois, which Parisians had not seen since the end of the first season in 1914. The highly demanding Vieux-Colombier audiences were happy to see fine performances of classics under the deft direction of Copeau. Critics, though, wondered when new plays would be on the bill. In January, Copeau staged Henri Ghéon's Le Pauvre sous l'escalier ("The Beggar under the Staircase"), the story based on the medieval tale of the life of Saint Alexis. La Mort de Sparte ("The Death of Sparta"), a play by Copeau's friend Jean Schlumberger dating from before the war, garnered neither critical nor popular praise. The highlight of the 1921/1922 season was the opening the School of the Vieux-Colombier in a building on Rue du Cherche-Midi, around the corner from the theatre. Courses began in November under the directorship of Jules Romain, author and graduate of the École Normale Supérieure. Among the teaching staff were Copeau himself who would teach a course on the theory of the theatre and Greek tragedy, and Jouvet who taught a complementary course on the Greek theatre from the point of view of its architecture. Bing taught