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In regard to the working rules in artistic spheres, Antoine Vitez’s trajectory stands as paradoxical. Although he started late in life as a stage director, remaining at the fringe of the theatrical milieu for a long time, he deeply disrupted the profession of director, giving it, notably, a fully artistic identity. This trajectory is all the more surprising that Vitez not only uses the communist web by settling - thanks to Aragon’s support - in the city of Ivry, by which he gets closer to other directors approving the decentralisation in suburban areas, but also the schemes of thought acquired in the communist sphere. Vitez, who had been a translator for a long time, transposes indeed ail the rules of coding and decoding, particular to the “smuggled literature” and, more widely, the “language” of that partisan organisation, to the artistic world, in order to constitute himself a repertoire, -and here his reference to Meyerhold and his subversion of Brechtism are central- to promote “vitezian” education and body, and, above all, to bestow on the activity of stage director its full artistic dignity.