The article examines the sound space in the second scene of Act II, the culminating scene of The Tidings Brought to Mary, the first edition of Paul Claudel’s mystery play. An analysis is made of the composition and dramaturgy of this scene in order to discern the functions of theatrical music as well as the particularities of sound dramaturgy in the sacred space of the mystery play. The author arrived at the conclusion that the organization of the musical space in Act III, Scene 2 has engendered a new understanding of the universal meaning of the mystery in the 20th century.