克羅岱爾的畢生代表傑作《緞子鞋》Ue必似如）篇幅龐大，劇情 多頭並進，意義不易釐清。本文為避開歷來泛道德式的詮釋，改採戲劇符號學4行 動素模式分析」方法來檢視本劇，以重要角色作為分析主體，發現愛情和征戰為 角色意志的一體兩面，此劇的兩大空間一愛情和征戰一只是一個幻象，所有 情節都在方寸之間上演。這個分析結果有助於釐清本劇複雜的結構，也印證了維 德志（Antoine Vitez)導演的出發點：征服新大陸猶如征服心上人。基於此，這 齣戲乍看之下角色為數眾多，其實只是同一個角色之分裂或增生，所有男性角色 可視為男主角的反射，女性角色皆為女主角的映照，兩性關係遂出現一致化的模 式。夏佑國家劇院（ThMtre National de Chaillot)製作最凸出的一點，就是未將 征戰異教徒、拓展領土彊域處理成感情受挫的出路，而是將其轉換為主角陷人愛 慾及自我超越之間的搏鬥；換句話說，這是「一齣自我的演出」，完美地達成了 作者希望藉由此劇自我告白同時自我隱藏的矛盾目標。

Paul Claudel’s masterpiece The Satin Slipper (Le Soulier de satin) is a huge work with multiple story lines, the meanings of which are not easy to understand. To avoid the pan-moral interpretations of this work, this article uses the actantial model of theatre semiotics to analyze the plot, which reveals that love and conquest are two sides of the will of all important characters. In other words, the two spheres of this saga—love and conquest—are nothing but an illusion; all dramatic actions actually happen in the heart of the protagonist Rodrigue. This result helps not only clarify the complex plot, but also confirms the position of Vitez’s mise en scène; i.e. the conquest of the world is equal to the conquest of the beloved. As a consequence, the numerous roles of The Satin Slipper are actually the division or proliferation of the same character; all male characters can be regarded as reflections of the hero, while the female characters are reflections of the heroine. The relationship between the two sexes thereby reveals a consistent model. The prominent point of the National Chaillot Theatre production is that it did not perform the conquest as a way out of emotional frustration, but rather as a struggle between erotic desire and self-transcendence. That’s why this scenic creation is “a representation of Self”, through which Vitez perfectly fulfilled Claudel’s paradoxical goal of self-confession and self-concealment.