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At the twilight of the forties, he started doing theater.\n\nIn 1953, Jean Martin gained notoriety by playing the new play by Irish playwright Samuel Beckett, \"Waiting for Godot\", under the direction of Roger Blin, becoming the first to take on the role of Lucky. The same Roger Blin produced “End of the Game” (1957), by the same Beckett, a few years later, and entrusted the same Jean Martin with the role of Clov. In 1960, Jean Martin staged his first play, “Letter Dead”, by Robert Pinget. In 1962, he again staged a play, “The Representatives”, by Aglaé and Mona Mitropoulos, adapted by Michel Arnaud. Alongside this theatrical career which would prove to be rich, Jean Martin returned to cinema: “Notre-Dame de Paris” (1956), by Jean Delannoy, “Paris belongs to us” (1958), by Jacques Rivette, “Ballade for a thug \" (1962), by Jean-Claude Bonnardot, \"La foire aux dunces\" (1963), by Louis Daquin and \"À toi de fait mignon\" (1963), by Bernard Borderie.\n\nIn 1960, he was a signatory of the Manifesto of the 121 entitled “Declaration on the right to insubordination in the Algerian war”. In 1965, a role marked his career, that of Colonel Mathieu, in a film retracing the struggle in 1957 for control of the Casbah district of Algiers between FLN militants and French soldiers: \"The Battle of Algiers\" . Three years after the end of the Algerian War, the subject is still sensitive on each side of the Mediterranean; the film was banned in France upon its release, then censored until 2004. 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