The case of trade unions in the French performing arts industry between the two World Wars will serve here to test the hypothesis advanced in the Sociology of Professions and Theory of closed Labor Market whereby workers seek to improve their chances by attempting to limit its access. In line with that hypothesis, lyrical and dramatic actors tried to control the market, in particular by making it compulsory to hold a professional license. Contrary to what the theory proclaims, however, musicians’ trade unions sought to control wages and employment by implementing a strategy of maximum receptivity, i.e. by accepting anyone who entered the market. The article shows how those different strategies molded group identities, by tracing the borders of legitimacy and influencing the nature and extent of solidarities that cropped up in the milieu. Beyond the divergent strategies, two contrasting prospects of emancipation emerge from this study: emancipation as professionals for an elitist and exclusive group of actors and opera singers, emancipation as wage-earners for an inclusive, non-elitist group of musicians.