Abstract: In this text, the librettist of L'Annonce faite à Marie gives an a posteriori account of the process of creating the libretto, which preceded the composition of the musical partition. She discusses her personal approach to the piece, to which she was initially hostile. She presents the choices she made after comparing the different versions since La Jeune Fille Violaine, with the dual aim of enabling a re-evaluation of Mara's role, and making accessible the vital impulse that runs through Claudel's spirituality, contrary to the dolorist and dogmatic cliché often attached to it.
