Concordia University

http://www.concordia.ca/content/concordia/en/artsci/english/faculty.html

Louis Patrick Leroux, PhD

Professor, English
Professeur titulaire, Études françaises
Associate Dean, Research, Faculty of Arts and Science


Overview

Louis Patrick Leroux is Associate Dean of Research at the Faculty of Arts and Science. He is a Full Professor who holds a joint appointment in both English and Études françaises. 

Doctorate and DEA (Master’s II) in Theater (Sorbonne nouvelle) 
DESS in Arts and Cultural Industries Management (HEC Montréal) 
BA in Theatre and French Literature (Ottawa)

His academic research and graduate supervision covers modern and contemporary theatre, self-representation in drama, cultural discourse, research-creation, dramaturgy, Québec literature, literatures on the margins, and contemporary circus.

His approach to research and research-creation is fundamentally interdisciplinary and, consequently, he has worked with colleagues across many academic and practice-based fields. Recent and ongoing research projects include: the study of the poetics of writing the body in contemporary circus; performative research dissemination through research-creation; the physical, social, and creative impacts of circus practice on school children; and a socio-historical study of Québec theatre.

His research, as principal investigator, co-investigator, or collaborator has been funded by the Social Sciences and Humanities Research Council of Canada (Insight: 2014-18; Connections, 2012-13; 2016-17; 2017-18 and 2018-19; Partnership Grant: 2012-17; Partnership Development Grants: 2015-18 and 2018-21); by the Fonds de recherches du Québec—Société et culture (aide à la recherche-création, 2009-2012; 2015-18; and 2017-20; nouveaux professeurs-chercheurs, 2011-14; équipe en émergence: 2012-14); by the Canadian Institutes of Health Research (2014-18) and, as an active collaborator, by the Natural Sciences and Engineering Research Council of Canada though its College and Community Innovation Program (Industrial Research Chairs for Colleges; 2012-17, renewed from 2017-22).

Dr. Leroux regularly supervises or co-supervises students in Creative Writing and Literature, and in research-creation, performance, and contemporary circus in the INDI and Humanities PhD programs. He has supervised SSHRC, FRQ-SC and MITACS-funded post-doctoral fellows in both his departments. 

He is the founding director of the Montreal Working Group on Circus and a collaborator with the Canada Industrial Research Chair in Circus Arts. He is a regular member of the Performing Arts Research Cluster of the Milieux Institute (Concordia University), of the Centre de recherche interuniversitaire sur la literature et la culture québécoises (Université de Montréal), of the McGill Centre for the Study of Montreal, and of the Laboratoire de recherches sur les publics de la culture (UQTR). He is also on the advisory committee of the international Circus Arts Research Platform.

Recent and upcoming books include: Contemporary Circus, co-written with Katie Lavers and Jon Burtt (Routledge, 2019), Les formes populaires de l’oralité chez Victor-Lévy Beaulieu, co-edited with Sophie Dubois (Nota Bene, forthcoming 2019/20), Cirque Global: Québec’s Expanding Circus Boundaries, co-edited with Charles Batson (McGill-Queen’s University Press, 2016), and Le jeu des positions. Discours du théâtre québécois, co-edited with Hervé Guay (Nota Bene, 2014).

Other ongoing active projects include: contributing author in the multi-authored Le théâtre au Québec, une synthèse socio-historique, contributing author to the Cambridge Companion to Circus, and co-editing French Thinking and Writing on Contemporary Circus: Theory and Poetics with Cyril Thomas and Marion Guyez.

He has edited issues for L’Annuaire théâtral, including: “Le Québec à Las Vegas” (2009) and “Ordre et désordonnancement”(2008), and the upcoming issue (with Catherine Cyr) on textualities and the body in performance (2019/20). He edited an issue of Québec Studies in 2014 (“North-South Circus Circulations”), and was a section editor of the “Circus and its Others” issue of Performance Matters (2018).

He has published articles in French, English, and Spanish (translation) in: L’Annuaire théâtral, Theatre Topics, Theatre Research in Canada, Journal of Canadian Studies, Québec Studies, Voix et images, alt.theatre, Études théâtrales, L’Aparté, Apuntes de teatro, Revue de théâtre Jeu, Spirale, Canadian Theatre Review, L’oiseau-tigre, EntrActe, and Canadian Literature. His articles have been anthologized in The Routledge Circus Studies Reader (2016) and Le théâtre québécois en revue (Presses de l’Université du Québec, 2014)

Recent creative books include: False Starts (Talonbooks, 2016), Ludwig & Mae (in French, Prise de parole, 2016; in English, Talonbooks, 2009), Dialogues fantasques pour causeurs éperdus (Prise de parole, 2012), and Se taire (Prise de parole, 2010). 

While his most active period in the theatre was the 1990s, when he founded and was Artistic Director of Ottawa’s Théâtre la Catapulte, there have been several more recent productions and staged readings of his works in Montreal (2009, 2012), Ottawa (2010 and 2015), Vancouver (2013), and Santiago, Chile (2013).

His work on university-based research-creation, includes theatrical productions, film, dance, and video installation, and can be seen at http://resonance.hexagram.ca. He has done additional research-creation work on circus in a laboratory setting involving multi-media and dramaturgy (National Circus School, les 7 doigts de la main, Géodézik). In the summer of 2016, his Hamlet on the Wire—Hamlet sur le fil, a theatrical performance for high wire and sound installation, was presented in Montreal. This commissioned resonant response to Shakespeare’s work was the second, after Milford Haven (performative video installation, 2012), of a series of more adaptations to come.

Over the past few years, he has given over 100 talks, keynote addresses, and guest classroom lectures on research-creation, the creative process, contemporary circus, interdisciplinary practices, nineteenth century French theatre, the business of playwriting, and Québec drama and literature. 

In Spring 2018, he gave a condensed doctoral seminar on research-creation at the University of Chile. In Spring 2017, he was a Visiting Scholar at the Centre national des arts du cirque in Châlons-en-Champagne, France. In Spring 2014, he was a Visiting Scholar in Theatre Studies at Charles University, Prague. Previously, in 2012, he was a Visiting Scholar at the Centre for Canadian Studies, Duke University, Durham NC.

Awards and Recognition

2018. Named to the Provost’s Circle of Distinction, Concordia. 

2017. Elected to the College to the College of New Scholars, Artists and Scientists of the Royal Society of Canada.

2016. Dean of Arts and Science’s Award for Scholarship—Mid Career.

2015. Expert Commentator of the Year Award, Concordia University Media Services. Also twice named Concordia’s “Newsmaker of the Week” in 2015.

2012. Awarded, ex aequo, the Richard Plant Prize for best article on theatre and the performing arts published in English in Canada.

2010. Emerging Scholar Award for Concordia University (and title of University Research Fellow for 2010-11).

2009. Dean of Arts and Science New Scholar Award.

2009. Awarded the Jean Cléo Godin Prize for best article on theatre and the performing arts published in French in Canada.


Teaching and Graduate Supervision

Teaching

Courses taught at Concordia

Graduate seminars taught

ENGL 639: Québec on the World Stage: theatre, dance, circus (intensive Faculty of Arts and Science international graduate seminar)

ENGL 637: Experiential learning in Contemporary Circus Practice and Physical Theatre: Methods in research-creation, action-research and participant observation (intensive Faculty of Arts and Science international graduate seminar)

ENGL 635: Studies in Drama: Performative Dramaturgies

ENGL 601A – Literatures in contiguity: Québecois, Canadian cultural spaces (MA and PhD interuniversity seminar given with McGill and Université de Montréal)

ENGL 602 – Special Topics in English Literature (graduate seminar in the Aesthetics of the “Well-Made Play” and the “Un-made” Play)

FLIT 640 – Séminaire avancé en littérature québécoise (Modes et stratégies de la représentation du Québec dans les arts de la scène)

FLIT 615- Métadiscours des oeuvres littéraires (3 cr.): La mise en scène de l’histoire québécoise par son théâtre.

FLIT 612 - Discours du pouvoir (« Octobre littéraire »)

FLIT 601 - Études des objets littéraires et du discours


Undergraduate courses and workshops taught

ENGL 498A and ENGL 604A– Advanced Seminar in (Contact Zone Montreal)

ENGL 427 – Advanced Creative Writing: Drama

ENGL 416 and 673 (cross-listed), The Solo Play

ENGL 345 – Modern Drama

ENGL 344, Advanced Drama

ENGL 227 - Creative Writing : Drama

FLIT 466 – Littératures francophones des Amériques

FLIT 449 – Littérature québécoise / Canadian Literature

FLIT 351 – Le théâtre québécois

FLIT 305 – Culture et littérature québécoise: XXe siècle

Student Supervision

Graduate students and post-doctoral fellows
Post-doctoral fellows
Dr. Joseph Culpepper, MITACS Elevate-funded post-doctoral fellowship with matching funds provided by Cirque du Soleil. “Adapting Human Performance Techniques, Illusion Aesthetics, and Specialized Apparatus from the World Stage. From Conjuring to Contemporary Circus Disciplines.” January 2019 to December 2020.

Dr. Marie-Eve Skelling-Desmeules, FRQSC-funded post-doctoral fellowship, “La formation en arts du cirque: l’étude du travail de corps dans deux contextes de formation professionnelle.” Fall 2017 to Spring 2018. 

Dr. Catherine Cyr, FRQSC-funded post-doctoral fellowship (co-supervisor with Erin Hurley at McGill), Québec theatre and the body. June 2014 to May 2015. 

Dr. Jennifer Spiegel, SSHRC-funded project on social circus, department of English, 2013-15. 


Current MA and PhD
Humanities, PhD

Sue Proctor, PhD INDI (Secondary fields supervisor), AClown’s Approach to Performance Pedagogy, Communication, Community Building andInclusion, started Sumer 2109.

Mathilde Perallat, “Le cirque alternatif à Montreal et ses représentations du social : étude de la performance comme espace de changement de la perception de l'altérité.” Principal supervisor. Started in September 2016. 

Alison Bowie “Anglophone Representation in Early 20th Century French Canadian Theatre: Dramaturgical Strategies for Staging Collective Memory and Cultural Contact Zones” Principal supervisor. Started in September 2015. Awarded FRQSC funding. 

Sylvain Lavoie, “Entre chiens et loups: la (seconde) nature du théâtre au Québec.” Principal supervisor. Started September 2014. 


Creative Writing, MA

Danaë Brandt, "Writing trilingually: contemporary bourgeois lives in Haiti," started September 2018.

Nick Carpenter, "Chostakovitch's Petrograd: a solo play for a composer," started September 2016.

Littératures et résonances médiatiques, MA
Rachelle Fox, « En ligne(s) : médias sociaux, théâtralité et tragédie », started September 2015. Awarded FRQSC funding. 


INDI, MA
Anna Vigeland, INDI program, circus research-creation topic, principal supervisor, started September 2018.

Ulfet Sevdi, INDI program, directing and intercultural project, principal supervisor, started January 2018.

Sarah Poole, “Writing the Circus Act,” INDI program, principal supervisor, starting September 2017.


Graduated
HUMA PhD
Megan Hyslop, “Natural Clowning as Inquiry: An Ecology, Theatre and Scholarship of Feeling.” Principal supervisor. Defended April 2019. 

Creative Writing, MA
Cherie Pyne, "Melodramatic Children: A Play", Awarded SSHRC funding. Defended August 2019.

Geneviève Robichaud, “Dialogues Between Elle, l’Autre and l’Autre Followed by Dialogues entre Elle, l’Auteure et l’Autre.” Defended June 2012. Awarded SSHRC funding.

Alexander St-Laurent, “Barbotte. A play.” Defended March 2012. 

Joanna Donehower, “Adrift: a Dramaturgical Mapping.” Defended June 2010. 

Lindsay Wilson, “The Arts of Beauty, or Secrets of a Lady’s Toilet. A Play.” Defended August 2009.

Elise Newman, “Walking Shadows: Two One-Act Plays.” Defended August 2008. 

Jennifer Kierans, “Blue Movie: Five Short Films on the Five Senses.” Defended August 2008. 


Academic MA English Thesis/Research Paper
Drew Taylor, “Translating Ibsen’s Wild Duck, a study of techniques and strategies.” Submitted March 2012.

Matthew Jones, “The Scatological Subaltern: Political obstinacy and dirty alterity in Rawi Hage’s Cockroach.” Submitted June 2011. 


Littératures et résonances médiatiques, MA
Cloé Rouville, « La tentation du retour dans l’œuvre de Dany Laferrière » Defended in April 2018.

Vincent Voyer, « Mémoire individuelle et mémoire collective chez Michel Rabagliati ». Co-supervision with Geneviève Sicotte. Defended in Summer 2017. 

Catherine St-Arnaud, “Le phénomène de l’écriture de la route dans la littérature québécoise contemporaine suivi de TRAJETS, une creation.” Co-supervision with Sophie Marcotte. Defended in Fall 2016.

Jean-Marc Leduc, « La figure de l’Irlandais au Québec : perspectives historiques et littéraires (1815-1922) ». Defended March 2014. 

Jean-Michel Berthiaume, « Concaténation en continu : manifestations de la métafiction en bande dessinée ». Defended in January 2013. 

Catherine Langlois, « Les dramatiques radiophoniques de Claude Gauvreau : un essai de mise en forme. » Defended March 2011.

Tanya Déry-Obin, « Résistances et adhésions à la ‘nation’ : Une analyse discursive de la tétralogie Le Sang des promesses de Wajdi Mouawad » Defended January 2011. 

Valérie Bazinet, Figures d'altérité transformatrice : l'autre chez Victor-Lévy Beaulieu, Larry Tremblay, Dany Laferrière et Patrice Desbiens. Defended December 2009.  

Julie Lapalme, “La mutabilité au sein de trois œuvres franco-ontariennes : une lecdture du Malade imaginaire d’André Paiement, de L’Homme invisible/The Invisible Man de Patrice Desbiens et du Testament du couturier de Michel Ouellette,” shared supervision with Ollivier Dyens. Defended Winter 2008.


MA Traductologie, Études françaises
Alice Morissot-Mauss, “Les enjeux de la traduction théâtrale : Étude pratique et théorique à travers la traduction de la pièce Fathom et de la mise en lecture de cette traduction,” shared supervision with Louise Ladouceur (U of Alberta). Defended in October 2009.

Jessica Moore, “Resonant Response Beyond the Limits of Translation,” shared supervision with Sherry Simon. Defended Fall 2006. 


INDI, MA
Sofija Jovanovic, “The ‘problem’ of character in contemporary circus in Québec.” Principal supervisor. Defended June 2017.

Alisan MacNeil Funk, “Circus Education in Québec: Balancing Academic and Kinaesthetic Learning Objectives Through an Artistic Lens.” Principal supervisor. Defended April 2017. 

Sue Proctor, “The Archetypal Role of the Clown as a Catalyst for Individual and Societal Transformation.” Secondary fields supervisor (principal: Ted Little, Theatre). Defended March 2013.


Publications

Scholarly books

Contemporary Circus Voices, with Katie Lavers and Jon Burtt. Routlege (forthcoming, Fall 2019).

Les formes populaires de l’oralité chez Victor-Lévy Beaulieu, co-edited with Sophie Dubois. Nota Bene (forthcoming, Fall 2019/Winter 2020).

Cirque Global: Québec’s Expanding Circus Boundaries, edited with Charles Batson. Edited collection (multiple authors). McGill-Queen’s University Press, 2016. 

Le jeu des positions. Discours du théâtre québécois, edited with Hervé Guay. Nine authors, Nota Bene, « Séminaires » collection, 2014.


Creative books

Sandeep Bhagwati (and Louis Patrick Leroux, for the French translation), bilingual edition of Niemanslandhymnen, a Treize of Terze Rime, symphonic poem. Limited-edition book. Montreal: matralab, 2017. 

False Starts (“A Subterfuge of Excellent Wit”), English translation (and many additional texts) of Dialogues fantasques pour causeurs éperdus, translated with Alexander St-Laurent and Katia Grubisic. Preface by Jenn Stephenson and Nicole Nolette. Vancouver: Talonbooks, 2016. 

Ludwig & Mae & le livreur de chinois, le pape déjanté, la vache à Giacometti, la Muse déchue et le choeur d’anges étrangement nubile; mais aussi le père, le pauvre père, new, revised, and expanded edition of Implosions (1996) Sudbury: Prise de parole, included in the “BCF—Bibliothèque canadienne-française,” 2016.

Dialogues fantasques pour causeurs éperdus, Sudbury : Prise de parole, 2012. 

Se taire, Sudbury : Prise de parole, 2010. 

Ludwig & Mae (three plays: Embedded, Apocalypse, and Resurrection), translated by Shelley Tepperman and Ellen Warkenten, preface by Jane Moss, Vancouver : Talonbooks, 2009. 

Tom Pouce, version fin de siècle, Ottawa : Le Nordir, (second edition) 2006; (first edition) 1997.

Le rêve totalitaire de dieu l’amibe, Le Nordir, 2003.

Contes d’appartenance, Editor and contributor, Sudbury : Prise de parole, 1999.

Contes urbains. Ottawa, Editor and contributor, Le Nordir, 1999.

Implosions (Dialogue suivi de La Litière et de Rappel), Le Nordir, 1996.

Le Beau Prince d’Orange, Le Nordir, 1994.


Articles and chapters 

2018

Peer-reviewed:

 « The diverse narratives of Cirque du Soleil » in Narrative in Performance, London : Palgrave, Fall 2018. Co-written with Katie Lavers.

« Brigitte avant Haentjens : un engagement artistique en Ontario français », L’Annuaire théâtral (Canada) no. 61, Spring-Summer 2018, p. 15-41.


Non-peer-reviewed:

Carlos Alexis Cruz, Roy Gomez Cruz, Jane Childs, Xandra Ibarra, Kareem Khubchandani, Chris LaShua, Louis Patrick Leroux, and Chase Waites

“ Circus and its Terms. Reading (into) them” in “ATHE Conference 2017 Plenary: A Spectacular Balancing Act,” Theatre Topics, vol 28, issue 1; March 2018, p. 7-14.

“Meanwhile, Backstage,” Circus Talk!, https://circustalk.com/news/meanwhile-backstage/, 2 November 2018.

“Embodied research-creation into contemporary circus” a series of 16 academic posters written and presented by Louis Patrick Leroux, Alisan Funk, Alison Bowie, Marie-Eve Skelling, Alice Brand, Sorrel Neilson, Sarah Poole, and Mathilde Perallat. Designed by Nathalie Dumont. Concordia University and Montréal Complètement Cirque (MICC), July 2018. 

“Les nuits étaient trop courtes,” Album souvenir des 25 ans du Théâtre la Catapulte, Ottawa, 2018, p. 11.


2017

Peer-reviewed:

“Research Performance as Apprenticeship and Performative Research. Musings from a Supervisor,” Current Challenges in Doctoral Theatre Research, Edited by Radka Kunderova, Janacek Academy of Music and Performing Arts, Brno, Czech Republic, 2017, p. 47-55.

“En état vertical, une ouverture sur tous les arts de la scène” Biennale Zones théâtrales 2015, sous la direction de Mariette Théberge et Francine Chaîné, Québec: Presses de l’Université de Laval, collection “Formation et recherche en education artistique,” 2017, p. 114-126.

« Anglo Gaze : modèles de liminalité assumée et de parallaxe dans le théâtre anglo-québécois », La lutte pour l’espace : ville, performance et culture d’en bas, sous la direction de Domenic A. Beneventi, Roxanne Rimstead, Simon Harel, Québec : Presses de l’Université Laval, 2017, p. 159-177.


Non-peer-reviewed:

« Netherspaces. Collaborative Spaces : Performative Research and Circus Practice » (graphic novelization and summary of my talk) in Franziska Trapp, UpSideDown Circus and Space, 2nd International Conference. An Academic graphic novel, Münster : Zikus-Wissenschaft, 2017. N.p.

“Field Notes from a field school in a burgeoning field,” CdnTimes, Spiderwebshow.ca, 8 August 2017: https://spiderwebshow.ca/notes-from-a-field-school-in-a-burgeoning-field/


2016

Peer-reviewed:

“Introduction: Reinventing Tradition, Building a Field: Québec circus and its scholarship,” in Cirque Global: the Expanding Borders of Québec Circus, ed. Leroux and Charles Batson, McGill-Queen’s University Press, 2016, p. 3-20.

“A Tale of Origins: On the “Invention” of cirque and Where Québécois and American Circus Cultures Meet,” in Cirque Global: the Expanding Borders of Québec Circus, ed. Leroux and Charles Batson, McGill-Queen’s University Press, 2016, p. 36-54.

“Epilogue: Circus Reinvested,” in Cirque Global: the Expanding Borders of Québec Circus, ed. Leroux and Charles Batson, McGill-Queen’s University Press, 2016, p. 284-293.

« The Cirque du Soleil in Las Vegas : An American Strip-Tease » (reprint of article originally published in Revista Mexicana de Estudios Canadienses, nueva época, 2008), requested by editors Peta Tait and Katie Lavers for inclusion in The Circus Studies Reader, London: Routledge (Taylor and Francis), 2016, p. 546-552.

“Contemporary Circus Research in Québec: Building and Negotiating an Emerging Interdisciplinary Field” (reprint of article originally published in Theatre Research in Canada, 2014), requested by editors Peta Tait and Katie Lavers for inclusion in The Circus Studies Reader, London: Routledge (Taylor and Francis), 2016, 560-571.


Non-peer-reviewed:

“Un blanc… Drawing a Blank,” Theatre Research in Canada, “Forum” section. Dossier: “Linguistic and Cultural Junctures in Canadian Theatre,” vol. 37, no.1, 2016, p. 117-119.


2014 

Peer-reviewed:

« Michel Ouellette, l’œuvre correctrice du ré-écrivain » (reprint of previously published article from Voix et images, 2009, for a Québec drama criticism reader including significant articles published between from 1974 to 2009), Le théâtre québécois en revue, sous la direction de Shawn Huffman et Lucie Robert, Québec, Presses de l’Université du Québec, 2014, pages 67-80.

“De la langue au corps: l’inscription et discours du “vrai” dans le corps performant, d’Aurore, l’enfant martyre à Dave St-Pierre” included in Le jeu des positions. Discours dans le théâtre québécois, which I edited with Hervé Guay. Substantial rewriting and recontextualizing of a previously published article in English, 2014, pages 31-78.

“Présentation,” co-authored with Hervé Guay, in Le jeu des positions. Discours dans le théâtre québécois, which I edited with Hervé Guay. Nota Bene, 2014, pages 9-27.

“North-South Circus Circulations: Where Québécois and American Circus Cultures Meet,” Québec Studies 58, Fall-Winter 2014, p. 3-24.

“Le Cirque du Soleil et Hollywood: Iris,” Québec Studies 58, Fall-Winter 2014, p. 45-63.

“Cross-Border Circus: Americans in Montreal” with Amy Cohen, Francisco Cruz, Kyle Driggs, Louis Patrick Leroux, Sarah Poole, and Duncan Wall. Co-edited with Jane Moss, Québec Studies 58, Fall-Winter, p. 65-86.

« Répliques, réplications, réponses : Milford Haven repris », L’Aparté no. 3, dossier « Entre inventivité et doute, la richesse de la recherche création est-elle crédible? », no. 3, Spring 2014, p. 41-45.


Non peer-reviewed:

« Confidences impudiques » in Chemins de traverse. L’apport de Jean-Pierre Ryngaert aux études théâtrales, edited by Marie-Christine Lesage and Joseph Danan, Paris, Éditions Théâtrales, October 2014, 7 p.

“Circus Dramaturgy, an Interview with Louis Patrick Leroux,” Theatre Topics. Journal of the Association for Theatre in Higher Education, interviewed by Carlos Alexis Cruz Casas, September 2014, vol 24, no 3, p. 269-273. 

“Contemporary circus research in Québec: building and negotiating an emerging interdisciplinary field,” Theatre Research in Canada, “Forum” section, vol. 34, no 2, Summer 2014, p. 263-270. 


2013

Peer-reviewed:

« El investigador-creador frente a sus respuestas resonantes », Apuntes de teatro (Chile), no 138, 2013, p. 69-83. Translated into Spanish by Andrea Pellegri.


Non peer-reviewed:

« Le Cirque du Soleil à Hollywood: retour sur Iris », Revue de théâtre JEU, no 148, Fall 2013, p. 155-159.

« Retour sur un manuel d’action culturelle et son auteur » (book review of S. Brault’s Le facteur C : L’avenir passe par la culture and L. Prud’homme, A. Dubois-Prud’homme, and L. Lapierre’s Simon Brault : Prendre fait et cause pour la culture), Spirale, no 245, Summer 2013, p. 55-57.

“On the staging of Ludwig & Mae,” Sunday Feature article, March 24, 2013, The Charlebois Post-Canada. Web publication.

http://www.charpo-canada.com/2013/03/sunday-feature-louis-patrick-leroux-on.html


2012

Peer-reviewed:

“From langue to body — the quest for the “real” in Québécois theatre” Edited by Roberta Barker and Kim Solga, New Canadian Realisms: Essays, Toronto, Playwrights Canada Press, 2012, p. 106-123. Received 2012 Richard Plant Award.


Non peer-reviewed:

“Theatre production, experiential learning, and research-creation in the Academy: An anti-manifesto of sorts,” Canadian Theatre Review, no. 150, special issue “Manifestos: Everything You’ve ever Wanted to Say about Theatre but Were Afraid to Put in Print”, edited by Natalie Alvarez and Jenn Stephenson, Spring 2012, p. 97-99.


2011

Peer-reviewed:


« Le chien de Jean Marc Dalpé » (p.149-150); « Marie-Antoine, opus 1 de Lise Vaillancourt » (p. 532-533); and « La Lumière blanche de Pol Pelletier » (p. 505-506), Dictionnaire des œuvres littéraires du Québec, tome VIII : 1986-1990. Sous la direction d'Aurélien Boivin, avec la collaboration de Caroline Garand, Jacques Paquin et Pascal Riendeau, Montréal, Fides/CRILCQ, 2011, 1232 pages.


2010

Peer-reviewed:

« What happens in Vegas… (les coulisses d’une recherche) », Québec Studies, no 48, Fall 2009/Winter 2010. 


2009

Peer-reviewed:

« Zumanity : la spectacularisation de l’intime, ou le pari impossible d’authenticité au Cirque », L’Annuaire théâtral. Revue québécoise d’études théâtrales, no 45, printemps 2009, p. 69-91. 


« Le Québec à Las Vegas: pérégrinations postidentitaires dans l’hyper-Amérique », L’Annuaire théâtral, no 45, printemps 2009,  p. 9-20. 


« Michel Ouellette, l’œuvre correctrice du ré-écrivain » Voix et images, no 102, printemps-été 2009, p. 55-68. Received Jean Cléo Godin Award


“How does one even say memory in Arabic?” (a dispatch on Wajdi Mouawad’s Seuls),alt.theatre: cultural diversity and the stage, vol. 6, no 4, June 2009, p. 36. 


Non peer-reviewed:

« Cohérence esthétique, anémie dramaturgique » (review of Cirque du Soleil’s Ovo), Spirale, no. 227, Summer 2009, p. 28-30. 


« Dialogues muets avec les animaux », Revue de théâtre JEU, no. 130, Spring 2009, p. 113-121. 


2008

Peer-reviewed:

« Désordres et ordonnancements: pour un théâtre en déséquilibre », L’Annuaire théâtral, no 43-44, printemps-automne 2008,  (presentation to the issue I edited), p. 11-13. 

« The Cirque du Soleil in Las Vegas : An American Strip-Tease », dossier « Exporting Popular Culture », Revista Mexicana de Estudios Canadienses, nueva época, Decembre 2008, p. 121-126. 


Non peer-reviewed:

« La fatalité de l’autofiction fabulatrice » (review of Michel Ouellette’s Willy Graf), Canadian Literature, no. 198, Fall 2008, p. 161. 

« Commettre des manifestes », L’Oiseau-tigre : Les Cahiers du Théâtre français, Ottawa : National Arts Center of Canada, volume 8, no. 1, September 2008, p. 71-80. 


2007

Peer-reviewed:

« L’influence de Jean Marc Dalpé » dans Jean Marc Dalpé, ouvrier d’un dire, edited by Stéphanie Nutting and François Paré, Sudbury : Prise de parole & Institut franco-ontarien, « Agora » series, 2007, p. 293-305. 


«  L’alchimie de la transformation totale. Le récit de conversion de Pol Pelletier », Figures du monologue théâtral ou Seul en scène, Edited by Irène Roy with Caroline Garand and Christine Borello, Québec : Nota Bene, 2007, « Convergences » series, p. 55-76. 


Non peer-reviewed :

« Le mécénat et le théâtre : quelques réflexions insubordonnées », Cahiers de théâtre JEU, no.122, hiver 2007, p. 71-80. 


2006

Peer-reviewed:

« Tremblay’s Impromptus as Process-driven A/B », Theatre and Autobiography : Writing and Performing Lives in Theory and Practice, Edited by Sherrill Grace and Jerry Wasserman, Vancouver: Talonbooks. 2006, p. 107-123. 


Non peer-reviewed:

« A Nation of Distinct Selves : From Collective Identity to the Individual in Québec Drama », Canadian Theatre Review, no. 125, Winter 2006, p. 62-68. 



2005

Peer-reviewed:

« Scène à faire / scène à défaire », Lexique du drame moderne et contemporain, Edited by  Jean-Pierre Sarrazac, Belval (France) : Circé, « Poche », 2005, p.201-203. 


Non peer-reviewed:

« Exit l’auteur. La pièce-marchandise et la professionnalisation des théâtres », EntrActe: revue de réflexion sur le théâtre franco-ontarien, no. 2, hiver 2005, p. 45-53. 



2004

Peer-reviewed:

« Jean-Pierre Ronfard en autoreprésentation », L’Annuaire théâtral. Revue québécoise d’études théâtrales, no. 35, juin 2004, p. 55-72. 


Non peer-reviewed: 

« Kane’s Crave / En manque in Montreal », Canadian Theatre Review, no. 120, automne 2004, p. 93-96.

« Théâtre autobiographique : quelques notions », Cahiers de théâtre JEU, no. 111, juin 2004, p. 75-85. 


« Me! Me! Me! Autofiction and Confessional Drama in Montreal », Canadian Theatre Review, no. 118, Winter 2004, p. 71-73.


2002

Peer-reviewed:

« The Comédie-Française : The Jean-Pierre Miquel Era, 1993-2001 », International Journal of Arts Management, vol. 4, no. 2, Winter 2002, pp. 66-79. Written in collaboration with Laurent Lapierre (2nd author). The original (and substantially longer) French version of this article is available through HEC-Montreal’s Centre d’études de cas.


Non peer-reviewed: 

« Vie et mort du théâtre au Québec. Introduction à une théâtritude de Janusz Przychodzen », L’Annuaire théâtral, no. 32, automne 2002, p. 180-181.


2001

Peer-reviewed:

« Scène à faire / scène à défaire » dans « Poétique du drame moderne et contemporain. Lexique d’une recherche » sous la direction de Jean-Pierre Sarrazac, Études théâtrales(Belgique), numéro 22, 2001, p. 116.


« Les alliances stratégiques dans le théâtre francophone au Canada », Les théâtres professionnels du Canada francophone : entre mémoire et rupture, Edited by Hélène Beauchamp and Joël Beddows, Ottawa : Le Nordir, 2001, p. 193-208.

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