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The theatre of Roger Vitrac(1899-1952), one of the precursors of the new theatre of the 1950s, is characterized by the use of the non-verbal language. The non-verbal language signifies the non-verbal means of expression, that is to say gestures, objects, colors, sounds, music, and even silence. In theatre, the non-verbal language can be divided into three categories: the corporal language, the visual and plastic language, and the acoustic language. This paper examins the features of the corporal language among the above mentioned three categories in the theatre of Vitrac which can be devided into two periods. The first period ranges from 1921 to 1930 including his activities with Antonin Artaud in the <The′a^tre Alfred Jarry>. The non-verbal language of this period is impregnated with the dada-surrealist characteristics, namely the contradiction between speech and gesture, the provocation towards the public, the violence and the cruelty, as well as the juxtaposition of two parallel actions. The plays of the second period(1930-1952) are characterized by the return to the traditional and realistic theatre, in particular to the theatre of boulevard and the vaudeville. The characteristics of the corporal language of this period are also different from those of the first period. The features of vaudeville like the fast and mechanical movements appear frequently, and the pure dramatic techniques, imitation and improvisation, symmetrical inversion of roles and pantomime, are reinforced. In this way, the plays of Vitrac of the first period which are distinguished with the irrationality, the phantasm, the provocation and the cruelty give their way to the plays of the second period in which the realistic aspects are reinforced. However, what does not change is the abundant use of the corporal language. In conclusion, the particularity of the theatre of Vitrac is said to appeal constantly to the non-verbal means of expression.