War ended in May 1945 and Weidt was discharged from the British army during the spring of 1946. He immediately returned to Paris, intending to settle there, and established the "Ballets des Arts". The theatre manager Charles Dullin arranged for him to use a studio at the Sarah Bernhardt Theatre. Coincidentally it was the same studio that the impresario Sergei Diaghilev had made available to Nijinsky back in 1909. By this time he was being supported in his dance activities by Dominique (1930-) and Françoise Dupuy. The Dupuys, respectively a dancer and a choreographer, and his youngest protegees who originally met one another in 1946 at a dance-class held by Jean Weidt, would later continue to present Wendt's choreography well into the twenty-first century. In Paris Weidt built up his company and despite lack of money and frequently dire living conditions, undertook various tours across a shattered continent, including one to occupied Germany and another, in 1947, to Copenhagen. The 1947 tour of Copenhagen, which involved the "International choreography concours" where Weidt one first prize with a revolutionary piece called "La Cellule/Die Zelle" ("The Cell"). Back home in Paris, however, critics were unimpressed by his triumph in Denmark, and Jean Weidt's choreography seemed to have fallen out of fashion since the end of the war. There was a further successful tour of the Netherlands and Belgium, and his reputation remained strong in what remained of Germany, but funding continued to be a challenge. In 1948 he finally relocated to the eastern part of Berlin, since 1945 administered as part of the Soviet occupation zone, where the prospect of relatively generous government financial support for ballet beckoned.