the beginning course on reading and diction and along with Copeau a course on the formation of the dramatic instinct. Copeau's daughter Marie-Hélène was in charge of a workshop on the use of different materials, on geometric design, on costume design and production. The fame of the Vieux-Colombier seemed to reach its apogee in the 1922-23 season. The house was filled for every performance and visitors to Paris complained of the impossibility of getting tickets to any of its offerings. Copeau organized a touring company to the provinces. Invitations to play in other countries in the off-season abounded. When Konstantin Stanislavski, the director of the Moscow Art Theatre, came to Paris in December 1922, he and his troupe were warmly received on the stage of the Vieux-Colombier. The influence of Copeau's principles to which he held without flinching was felt throughout Europe and the United States. Despite the fame, conflict arose. Jouvet, who understood the economics of the theatre better than Copeau, knew that a larger theatre and a more profitable pricing system were needed. His proposal fell on deaf ears. When he was asked to direct at the Théâtre des Champs-Élysées, he chose his freedom. Even Romains decided that the Right Bank theatres were more hospitable to his work after Copeau rejected one of his plays. Despite the problems at the theatre, the school continued to thrive. Copeau allowed his young charges to appear in a production of Gide's Saül as the masked demons that taunt the king played by Copeau himself. The critical reaction was quite positive. The season ended, as the previous ones had, with the Vieux-Colombier in debt. When the 1923/24 season opened, the Vieux-Colombier found itself in competition with former members of the company since Jouvet's and Dullin's theatre drew from the same public as Copeau. Its subscriber base reduced, the Vieux-Colombier no longer held the cherished spot in the heart of those theatregoers who sought quality in the theatre. For Copeau, two events marked the highpoints of the season: the staging of his long-awaited La Maison natale, a work that had its inception in various forms more than twenty years earlier, and the Noh play Kantan with the students of the school under the direction of Suzanne Bing. Copeau's piece dealt with the theme of an autocratic father whose two sons, Maxime and Pierre, have already left the nest to find happiness elsewhere. André,