Concordia University

Louis Patrick Leroux, PhD

Professor, English
Professeur titulaire, Études françaises

Office: S-LB 644-7 
J.W. McConnell Building,
1400 De Maisonneuve W.
Phone: (514) 848-2424 ext. 5617
Website(s): CEAD site Web
View my Bookshelf page
Resonance Lab
Montreal Working Group on Circus Research
Groupe Socio-esthétique des pratiques théâtrales du Québec contemporain
Availability: Wednesdays 10 to 11:30 a.m. Or by Appointment.


Prof. Louis Patrick Leroux is a playwright, director, and scholar who holds a joint appointment in both departments of English and French Studies.

After degrees in Theatre (Ottawa, BA; Sorbonne nouvelle, DEA), French Literature (Ottawa, BA), and Arts Management (HEC-Montréal, DESS), he earned his doctorate in Theatre and the Performing Arts from the Sorbonne nouvelle. Before joining academia, he worked as a playwright and director and was the founding Artistic Director of Ottawa’s Théâtre la Catapulte during the 1990s and a co-founder of la Nouvelle scène theatre space in 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.

Scholarly Work

Recent scholarly collections include Cirque Global: Québec’s Expanding Circus Boundaries, co-edited with Charles Batson (McGill-Queen’s University Press, 2016), “North-South Circus Circulations” edited issue of Québec Studies (2014), and Le jeu des positions. Discours du théâtre québécois, co-edited with Hervé Guay (Nota Bene, 2014).

He also edited issues for L’Annuaire théâtral: “Le Québec à Las Vegas” (2009) and “Ordre et désordonnancement”(2008). Currently, he is co-editing another issue, with Catherine Cyr, on textualities and the body in performance (2018).

Current projects include a book-length study of Cirque du Soleil in Las Vegas. He is a co-author of an historical synthesis of Québec theatre (under the stewardship of Gilbert David). Along with Katie Lavers and Jon Burtt, he is also working ona new book on contemporary circus creators for Routledge.

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

Creative Work

Recent creative publications 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 Setaire (Prise de parole, 2010). He is the author of over thirty plays, films, and radio plays, with recent productions and staged readings in Montreal (2009, 2012), Ottawa (2010 and 2015), Vancouver (2013), and Santiago, Chile (2013).

His recent work on university-based research-creation can be seen on, this includes theatrical productions, film, dance, and video installation. 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) and is currently embarked on a four-year funded study of the dramaturgy of movement in contemporary circus and physical theatre (FRQ-SC, 2015-18).

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 resonant response to Shakespeare’s work was the second, after Milford Haven (video installation, 2012), of a series of more such adaptations to come.

Awards and Recognition

In 2017, he was elected to the College to the College of New Scholars, Artists and Scientists of the Royal Society of Canada.

In 2016, he received the Dean of Arts and Science’s Award for Scholarship—Mid Career.

He was awarded the 2015 Expert Commentator of the Year Award, Concordia University Media Services.

He was twice named Concordia’s “Newsmaker of the Week” in 2015 (for the scope of his commentary on the sale of Cirque du Soleil).

Concordia awarded him the university-wide 2010 Emerging Scholar Award (and the title of University Research Fellow for 2010-11).

In 2009, he won the Dean of Arts and Science New Scholar Award.

National awards for his scholarship in theatre and performance studies:

2009 Jean Cléo Godin Prize for best article published in French

2012 (ex aequo) Richard Plant Prize for best article published in English.


He is the founding director of the Montreal Working Group on Circus Research. He is a regular member of PARC, Concordia’s Performing Arts Research Centre and has been an ongoing Research Faculty with matralab since 2007. He is also a regular member of Concordia University Quebec Studies Network and of CRILCQ-Université de MontréalCentre de recherches interuniversitaire en littérature et en culture québécoises, and a member of the Socio-esthétique des pratiques théâtrales du Québec contemporain inter-university research group. Finally, he is Associate Researcher with the National Circus School of Montreal.

Recent major research funding (since 2009)

- Fonds de recherche sur la société et la culture (FRQSC) recherche-création (2015-18): “Poétique du cirque contemporain (dramaturgies et grammaires d’une écriture en mouvement)” (principal investigator). A three year investigation into the grammar and poetics of contemporary circus, in collaboration with the National Circus School.

- SSHRC Partnership Development Grant (2015-18), “L’initiation des enfants à la pratique des arts du cirque et ses effets sur la littératie physique, la créativité et la resilience.” Patrice Aubertin, P.I. (École nationale de cirque de Montréal). Co-investigators:Michael Ungar (Dalhousie University), Doug Klein (University of Alberta), Dean Kriellaars (University of Manitoba).

- SSHRC Insight Grant (2014-17) for “Régimes socio-esthétiques du théâtre au Québec (1945-2015): synthèse historique” (co-investigator). A collective historical overview of contemporary Québec theatre by 9 colleagues from as many universities. Book in preparation (principal author on the “1960-79” chapter and co-author on two other chapters).

- SSHRC Partnership Grant (2013-2017) “Art for social change: an integrated research program in teaching, evaluating and capacity-building” (collaborator). Has allowed for the presence of a post-doctoral fellow at Concordia for three years.

- Natural Sciences and Engineering Research Council ofCanada (NSERC) Canada Industrial Research Chair for Colleges in Circus Arts at National Circus School, Montreal, collaborator.

- Social Sciences and Humanities Research Council (SSHRC) Connection Conference and Workshop Grant (2012-13): “The State of Circus Research in Québec Workshop session on the Models and Conditions of Possibility” (principal investigator). First international conference on Québec circus held at Concordia, McGill, National Circus School and TOHU. The conference prompted the preparation of Cirque Global: Québec’s Expanding Circus Boundaries (forthcoming with McGill-Queen’s UP)

- FRQSC Établissement de nouveaux professeurs-chercheurs (2011-14) : « La Conquête Américaine du Cirquedu Soleil : comprendre le contexte des spectacles permanents d’un genreéphémère » (principal investigator). Many articles and talks came out of this project. Book in preparation.

- FRQSC research-creation team grant (2009-12). « Hypertext and Performance:A Resonant Response to Joanna Baillie’s Witchcraft» (principal investigator). Many workshops and productions came out of this research program. The process and performances can be consulted on the Resonance website.

Media and Outreach

His commentary on the circus scene in Montreal and in North America has been heard and read on CNN,CBC, Radio-Canada, RDI, TVA-LCN, Czech national radio, New York Times, Wall Street Journal, Financial Times (UK), Globo (Brazil), National Post, Globe and Mail,and Le Devoir.

Talks and Visiting Positions

Over the past few years, he has been invited to give talks, keynote addresses, and guest classroom lectures on research-creation, the creative process, Cirque du Soleil, contemporary circus, interdisciplinary practices, nineteenth century French theatre, the business of playwriting, and Québec drama and literature at Charles University (Prague), Masaryk University and the Janacek Academy of Music and Performing Arts (Brno), the University of London (Royal Holloway), Northwestern University, University of Virginia, University of North Carolina at Chapel Hill, Duke University, Université de Montréal, University of Ottawa,Waterloo University, the National Circus School, University of Guelph, Université du Québec à Montréal, Université du Québec à Trois-Rivières, Concordia University, McGill University, École Polytechnique de Montréal, New York University, University of California in Los Angeles, and the University of Nevada at Las Vegas.

In March 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).

In Spring 2012, he was a Visiting Scholar at Duke University’s Centre for Canadian Studies.

Between 2012 and 2014, he was a resident scholar at Montreal’s National Circus School where he is an active collaborator with the Industrial Research Chair in Circus Arts (2012-17) and where he is ongoing Research Associate and has taught performance history and aesthetics to students in the professional program.

Upcomingtalks in 2017:

University of Münster, Germany, keynote, June 2017

Association for Theatre in Higher Education, Las Vegas, plenary talk, August 2017; 

Bourse Rideau/TOHU, Montreal, September 2017 ;

Association for Canadian Studies in the US, Las Vegas, keynote, October 2017;

Elon University, North Carolina, guest talk, November 2017;

University of North Carolina, Chapel Hill, guest talk, November 2017;

University of North Carolina, Charlotte, guest talk, November 2017;

Davidson College, North Carolina, guest talk, November 2017.

University of Milano-Bicocca, December 2017.

Teaching and Graduate Supervision


Summer 2017

ENGL 639: Quebec Performing Arts on the World Stage (July 7-17)

Part of the Faculty of Arts and Science Summer Field Schools

Fall 2017

ENGL 335: Studies in Drama: Performative Dramaturgies

Wednesdays, 1:15 to 3:30 p.m.


Winter 2018

ENGL 416 and ENGL 673: The Solo Play

Mondays and Wednesdays, 10:15 to 11:30 a.m.

Graduate Supervision

PhD, Humanities Program

Alison Bowie, “Translation in Memory and Performance: The effects of translation on memory and performance of early 20th century French theatre in Québec.” Principal supervisor. Committee members: Sherry Simon (Études françaises) and Hervé Guay (UQTR). Ongoing. Awarded FRQ-SC funding.

Sylvain Lavoie, La (seconde) nature du théâtre au Canada. Principal supervisor. Committee members: David Howes (Anthropology) and Christabelle Sethna (Ottawa), ongoing.

Joel Mason, philosophy and circus and ‘whiteness,’ secondary field supervisor. Principal supervision: Erin Manning (Film Studies and Studio Arts), ongoing.

Mathilde Perallat, Social circus and organizational structures within the art-for-social change ethos. Principal supervisor. Committee members: Norma Rantisi (Geography) and Wendy Reid (Management, HEC-Montreal), ongoing.

Rebecca Rustin, “Translating Yiddish theatre in Montreal.” Committee member. Principal Supervisor: Judith Woodsworth (Études françaises), ongoing.

PhD, Individual Program (INDI)

Megan Hyslop, “The Psychology of Natural Clowning: An Autoethnographic Study of Clowning and Land Connection,” principal supervisor. Committee members: Warren Linds (Applied Human Sciences) and Karl Hele (First Peoples Studies, School of Communities and Public Affairs), ongoing.

PhD, external co-supervision

Tanya Déry-Obin, « Les discours de l’intime dans les dramaturgies contemporaines québécoises et caribéennes françaises (Martinique et Guadeloupe », PhD, Department of French Language and Literature, University of Virginia. Graduated in 2016.

Post-doctoral fellows

Dr. Marie-Eve Skelling-Desmeules, FRQ-SC-funded post-doctoral fellowship, “La formation en arts du cirque: l’étude du travail de corps dans deux contextes de formation professionnelle,” Études françaises. Fall 2017 to Summer 2019.

Dr. Catherine Cyr, FRQ-SC-funded post-doctoral fellowship (co-supervisor with Erin Hurley at McGill), Études françaises. June 2014 to May 2015. 

Dr. Jennifer Spiegel, on social circus, department of English, 2013-15. SSHRC funding. May 2013 to August 2015. 

MA,English Creative Writing theses:

Nick Carpenter, playwriting, “Shostakovich and the Siege,” ongoing.

Cherie Pyne, playwriting, “Melodramatic Children: An Autoethnographic Play,” ongoing. Awarded SSHRC funding.

Geneviève Robichaud, playwriting and prose,“Dialogues Between Elle, l’Auteure and l’Autre, followed by Dialogues entre Elle, l’Auteure et l’autre,” Graduated 2012. Awarded SSHRC funding.

Alexander St-Laurent, playwriting,“Barbotte.” Graduated in 2012.

Joanna Donehower, playwriting, “Adrift: petites histoires-little stories for children and lovers and renegades of the American Revolution,” graduated in 2010.

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

Elise Newman, playwriting, “As the Night the Day: Two One-Act Plays,” graduated in 2009.

Jennifer Kierans, screenwriting, “Blue Movie : Five Films about Coming to your Senses,” graduated in 2008.


MA,English, academic graduate research papers:

Drew Taylor, “Translating Ibsen’s Wild Duck, a study of techniques and strategies,” graduated March 2012.

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


MA,Littératures francophones et résonances médiatiques, Études françaises: 

Rachelle Fox, research-creation thesis, ongoing. Awarded FRQ-SC funding.

Cloé Rouville, “Latentation du retour dans l’œuvre de Dany Laferrière,” ongoing.

Vincent Voyer, “Mémoire individuelle et mémoire collective chez Michel Rabagliati,” co-supervised with Geneviève Sicotte. Graduated in 2017.

Catherine St-Arnaud,“(Re)Garder la route,” co-supervised with Sophie Marcotte. Graduated in 2017.

Jean-Marc Leduc, “La figure de l’Irlandais du XIXe siècle et à l’aube du XXe : perspectives historiques et littéraires (1815-1922),” graduated in 2014.

Jean-Michel Berthiaume, “Concaténation en continu : manifestations de la métafiction en bande dessinée,” graduated in 2013.

Catherine Langlois, “L’adaptabilité des radio-théâtres de Claude Gauvreau. Projet en recherche-création autour du radio-théâtre Magruhilne et la vie,”graduated in 2011.

Tanya Déry-Obin, “Résistances et adhésions à la ‘nation’ : Une analyse discursive de la tétralogie Le Sang des promesses de Wajdi Mouawad,”graduated in 2011.

Valérie Bazinet, “Figures d’altérité transformatrice : l’autre chez Victor-Lévy Beaulieu, Larry Tremblay, Dany Laferrière et Patrice Desbiens,” graduated in 2010.

Julie Lapalme, “La mutabilité au sein de trois œuvres franco-ontariennes : une lecture d’André Paiement, de l’Homme invisible-The Invisible Man de Patrice Desbiens et du Testament du couturier de Michel Ouellette,” co-supervised with Ollivier Dyens, Graduated in 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,” co-supervision with Louise Ladouceur (U of Alberta), graduated in 2010.

Jessica Moore, “Resonant Response Beyond the Limits of Translation,” co-supervision with Sherry Simon, graduated in2007.


MA, Individual Program (INDI)

Sarah Poole, “Writing the Circus Act,”principal supervisor. Committee members: Angelique Willkie (Dance) and MJ Thompson (Studio Arts), ongoing.

Dana Dugan, “Circus Dramaturgy and Creative Process,” principal supervisor. Committee members: Angelique Willkie (Dance) and Charles Batson (Union College), ongoing.

Sofija Jovanovic, “The ‘Problem’ of Character in Contemporary Circus in Québec,” principal supervisor. Committee members: Angelique Willkie (Dance) and Ursula Neuerberg-Denzer (Theatre). Graduated in 2017.

Alisan MacNeil Funk, “Circus Education in Québec: Balancing Academic and Kinaesthetic Learning Objectives Through anArtistic Lens,” principal supervisor. Committee members: Sandra Chang-Kredl (Education) and Theresa Bianca (Psychology). Graduated in 2017.

Sue Proctor, “The Archetypal Role of theClown as a Catalyst for Individual and Societal Transformation,” secondary field supervisor, along with Warren Linds (Applied Human Sciences). Principal supervisor: Edward Little (Theatre). Graduated in 2013.



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, Québec: Nota Bene, « Séminaires » collection, 2014.


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

“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.


“Field Notes from a field school in a burgeoning field,” CdnTimes,, 8 August 2017:

“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.


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.

« 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 CarlosAlexis 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. 

« 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.

“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.

« 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.

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

« 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), 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. 

« 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. 

« 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. 

« 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. 

« 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. 

« 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.

« 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.

« 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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