法國戲劇家與外交官保羅·克羅岱爾（1868-1955）的「世界劇場」《緞子鞋》（1924-1929）在德語國家引起很大的研究興趣和演出，甚至超過法國自己。1944年之後在德國、奧地利和瑞士的許多城市有許多不同的演出。把本為外語的戲劇搬上戲劇舞台必須面臨許多挑戰。在這篇文章裡要特別審視兩個演出：1965年西德電視台（WDR）的迷你影集和1985年的薩爾斯堡藝術節的演出。這兩個演出堪稱是《緞子鞋》演出史黃金時期的兩大劃時代的代表。《緞子鞋》本就因其語言、長度（四部，總共52景）、複雜的人物關係和情節難以搬上舞台。這兩個號稱全本演出的搬演特殊之處在於它們如何刪減或增加可搬演的景、如何改變演出的順序、如何改變故事的整體性、導演如何選擇增刪腳色並且改變某些腳色的戲劇功能。這裡也審視此劇德文翻譯以及導演如何增刪講詞，並分析這些改變如何影響克羅岱爾式的喜劇、即興和滑稽諷刺風格。

Paul Claudel’s masterpiece The Satin Slipper was performed with enthusiasm and with impressive frequency from 1944 to 1985 in German-speaking countries. In this study, two significant German productions from this golden age - the mini-series on WDR (western German broadcaster) in 1965 and the mise-en-scène of the Salzburger Festspiele 1985 -will be explored to clarify how this play was received. Presented in two different media, they show how the problematic aspects of the play are dealt with: such as selection of scenes and alteration of their sequence, textual elimination and change of diction, the reshaped function of the announcer and some minor characters as well as, most important of all and to Claudel’s eager concern, the maintenance or abandonment of improvisation and the burlesque style interwoven into the great tragedy.