Abstract
On December 23, 1907, the curtain of the Theâtre des Arts rose on a play by an unknown author. It was Le grand soir, a three-act play by the Polish writer Leopold Kampf banned in Germany and given a short while earlier at a German-language theatre in America. 1 Initially few spectators would have been prejudiced in the play's favor. However, from scene to scene, from one act to the next, an increasing fervor gripped the spectators. Swept away by the emotion of the play, they drowned the last speech with a prolonged ovation, adding, so to speak, a final exclamation mark to the cries of the heroine Anna, who, a moment earlier, had given the pre-arranged signal for the outbreak of a bloodbath: Hear the bell ring, ring, ring! . . . March on, my brothers! . . . It's the blood bell! . . . March ... And on and on!
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