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Louis Patrick Leroux, PhD

Professor, English
Professeur titulaire, Études françaises

Professor and Associate Dean, Research

Louis Patrick Leroux, PhD


Louis Patrick Leroux is a Full Professor who holds a joint appointment in both departments of English and Études françaises. He was Associate Dean of Research from January 2019 to August 2023.

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, organization and leadership in artistic organisations, 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; digital cultural mediation 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 and 2020-25; Connections, 2012-13, 2016-17, 2017-18 and 2018-19; Partnership Grant: 2012-17; Partnership Development Grants: 2015-18 and 2018-21; Partnership Engage Grant: 2020-21); 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 a collaborator, by the Natural Sciences and Engineering Research Council of Canada though its College and Community Innovation Program (2012-17 and 2017-22).

Dr. Leroux regularly supervises or co-supervises students in Creative Writing and Literature in the Department of English, 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), 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 books include: Contemporary Circus, co-written with Katie Lavers and Jon Burtt (Routledge, 2019 and its Chinese language translation), Estie toasté des deux bords: Les formes populaires de l’oralité chez Victor-Lévy Beaulieu, co-edited with Sophie Dubois (Presses de l'Université de Montréal), 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).

He has edited issues for L’Annuaire théâtral, including: “Le Québec à Las Vegas” (2009) and “Désordre et ordonnancement” (2008), and Percées: Explorations en arts vivants, "Corps scéniques, textes, textualités" with Catherine Cyr (2020). 
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: Percées, L’Annuaire théâtral, Theatre Topics, Theatre Research in Canada, Journal of Canadian Studies, Québec Studies, Voix et images,, 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). 

His work on university-based research-creation, includes theatrical productions, film, dance, and video installation, and can be seen at 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).

Over the past 15 years, he has given over 170 talks, keynote addresses, and guest classroom lectures across North America, Europe and South America on research-creation, the creative process, contemporary circus, interdisciplinary practices, nineteenth century French theatre, the business of playwriting, and Québec drama and literature. 

Most recently, he was a Visiting Professor at Université de Toulouse and then at École normale supérieure de Lyon (Spring 2022) and he taught at the Spring seminar at the Lake Como School of Advanced Studies/University of Milano-Bicocca (June 2022). He was a guest teacher (remotely) at Taipei's Circus Factory program in contemporary circus in 2021. 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

2020. Concordia Newsmaker (April 2020), University Communication Services

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

2017. Elected 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


Courses taught at Concordia

Graduate seminars taught

INDI 898 (intensive spring-summer seminar) Public Arts Garage: Concomitant and Collaborative Artistic Practices in the Public Space, 3 cr. co-taught international doctoral seminar, with Silvy Panet-Raymond (Dance) and with Bauhaus University, Weimar and Queen’s University, Belfast. 

ENGL 335 The Dramaturgy of Research-Creation (intensive Faculty of Arts and Science international graduate seminar)

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 636: Writing about/on/with/at/the contemporary circus. A seminar on Research-Creation, Creative process and Meaning-Making (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 1970 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
Marco Bortoleto, FAPES-funded (Brazil), January 2023 to December 2023.

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

Milena Pereira, started Sept 2022, PhD in Humanities (principal supervisor). Cotutelle with Campinas University, Brazil. Currently writing comprehensive exams.


Alejandra Jimenez, started Sept. 2021, PhD, INDIvidualized Studies (principal supervisor). Currently writing comprehensive exams.


Keely Whitelaw, started Sept. 2021, PhD in Humanities (principal supervisor). Other committee members: David Morris (Philosophy). Currently writing comprehensive exams.


Diego Vicente Lopez Francia, started Sept 2021, PhD, INDI (secondary fields supervisor). Principal supervisor: Luis Sotelo Castro (Theatre), other committee member: Warren Linds (AHS). Currently writing comprehensive exams.

Sue Proctor, PhD INDI (Secondary fields supervisor), AClown’s Approach to Performance Pedagogy, Communication, Community Building and Inclusion, started Sumer 2019.


Mélanie-Beby Robert, “Teaching early childhood circus,” INDI MA, starting in September 2020. Other committee members include Miranda D’amico (Education/Concordia) and Warren Linds (Applied Human Science/Concordia).


Anna Vigeland, INDI program, circus research-creation, principal supervisor, started September 2018. Other committee members include Luis Castro Sotelo (Concordia) and Debbie Folaron (Études françaises/translation).


Sarah Poole, “Writing the Circus Act,” INDI program, principal supervisor. Principal supervisor. Other members: Angélique Willkie (Dance/Concordia) and Marie-Eve Skelling Desmeules (Education/Ottawa).


Sylvain Lavoie, “Entre chiens et loups: la (seconde) nature du théâtre au Québec.” Principal supervisor. Defended May 2023.

Alison Bowie “Anglophone Representation in Early 20th Century French Canadian Theatre: Dramaturgical Strategies for Staging Collective Memory and Cultural Contact Zones” Principal supervisor. Awarded FRQSC funding. Defended February 2022. 

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, with Jacinthe Rivard and Charles Batson. Defended June 2021. 

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

Creative Writing, MA

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

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

Rachelle Fox, « En ligne(s) : médias sociaux, théâtralité et tragédie". Awarded FRQSC funding. Defended April 2020.

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. 


Ulfet Sevdi, INDI program, “Numbers Increase As We Count… A research-creation thesis on the disappearing women of war.” Principal supervisor. Other committee members include Luis Castro Sotelo (Theatre/Concordia) and Gulden Ozcan (Sociology/Lethbridge). Defended August 2021.

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.


Scholarly books

Contemporary Circus, with Katie Lavers and Jon Burtt. Routlege, 2019.

Chinese-language translation of Contemporary Circus火箭發射:24位當代馬戲大師的創作方程式Taipei: Bookman Books, Ltd, co-published with Weiwuying - National Kaohsiung Center for the arts, 2021.

Cirque Global: Québec’s Expanding Circus Boundaries, edited with Charles Batson. McGill-Queen’s University Press, 2016. 

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

Forthcoming and in preparation:

Estie toastée des deux bords: Les formes populaires de l’oralité chez Victor-Lévy Beaulieu, co-edited with Sophie Dubois, Presses de l'Université de Montréal. 2022

Le cirque social : son rôle, ses pratiques, pédagogies et aspirations co-edited with Jacinthe Rivard and Mathilde Perahia, Presses de l'Université Laval.

Réagir, créer, persévérer. La culture québécoise au temps de la pandémie co-edited with Hervé Guay, and Sandria Bouliane, Presses de l'Université de Montréal.

The Dramaturgy of Data. Evolutive Research Design and Data Management in Research-Creation co-written with Alison Bowie.

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 

Accepted and forthcoming


Hamlet: to have written or not to have written for the tight-wire” 3600 Circus—Aesthetics. Practice. Culture, Ed. Franziska Trapp, London: Routledge. Translated and revised version of « Hamlet : écrire ou ne pas avoir écrit pour le fil de fer ». 


“Avant-Garde Gestures and Contemporaneity in Today’s Circus,” Circus and the Avant-Gardes. From History to Imaginary, Ed. Anna-Sophie Jürgens and Mirjam Hildbrand, London: Routledge. Forthcoming in March 2022. 20p.


“L’oratorio épique : un Cérémonial pour une quête rapaillée,” Estie toastée des deux bords. Les formes populaires de l’oralité chez Victor-Lévy Beaulieu, co-edited with Sophie Dubois, Montréal, Presses de l’Université de Montréal. 19p.


« L’oralité et le populaire au cœur d’une œuvre polygraphique » by Sophie Dubois and Louis Patrick Leroux in Estie toastée des deux bords. Les formes populaires de l’oralité chez Victor-Lévy Beaulieu, co-edited with Sophie Dubois, Montréal, Presses de l’Université de Montréal. 32p.


« Savoir et savoir-faire relatif aux arts de la scène dans la pratique de la médiation culturelle numérique au sein des compagnies de théâtre, danse et cirque au Québec », Le champ numérique / Digital Studies, Hervé Guay, Marie Beaulieu, Marie-Claude Larouche, Louis Patrick Leroux.


« De la scène artistique à la scène scolaire : extension des territoires de la médiation culturelle par le numérique dans les arts de la scène? », Le champ numérique / Digital Studies, Marie-Claude Larouche, Hervé Guay, Marie Beaulieu, Louis Patrick Leroux, Morad Jeldi, Emilie Cousineau et Camille St-Georges. 

“Early Québec Circus (1797-1950s). Performance Beyond Language,” Canadian Plays and Performance Documents, 1606-1967, edited by Allana C. Lindgren, Glen Nichols and Tony Vickery, University of Alberta Press. 11p.

« Les 7 doigts de la main : Un collectif circassien qui repousse les frontières » Three linked case studies into management practices in cultural organisations with pedagocial notes. Co-authored with Joanie Leroux-Côté, Maribel Courcy and Wendy Reid. Accepted with revisions at the Revue internationale de cas de gestion



Non peer-reviewed :

« Quand tout est à faire et tout est possible : les transitions entre les différents aspects de la tâche professorale », Si c’était à refaire… Récits de d’université à mi-carrière, Ed. Stéphane Allaire et Frédéric Deschenaux, Québec : Presses de l’Université du Québec, collection « Enseignement supérieur ». 125-135.


Enquête qualitative sur la médiation culturelle et numérique dans les arts de la scène, Hervé Guay, Marie Beaulieu, Marie-Claude Larouche, Louis Patrick Leroux, Morad Jeldi, Camille St-Georges. Rapport de recherche remis au Conseil québécois du théâtre, au Regroupement québécois de la danse et à En piste, regroupement national des arts du cirque. March 2021. 112 p.


Rapport de la recherche sur la médiation numérique dans les arts de la scène. Faits saillants du volet quantitatif à l’intention du milieu culturel, Hervé Guay, Marie Beaulieu, Marie-Claude Lapointe, Marie-Claude Larouche, Louis Patrick Leroux, Morad Jeldi. Rapport de recherche remis au Conseil québécois du théâtre, au Regroupement québécois de la danse et à En piste, regroupement national des arts du cirque. February 2021. 23 p.


Enquête quantitative sur la médiation culturelle et numérique dans les arts de la scène, Hervé Guay, Marie Beaulieu, Marie-Claude Lapointe, Marie-Claude Larouche, Louis Patrick Leroux, Morad Jeldi, Camille St-Georges. Rapport de recherche remis au Conseil québécois du théâtre, au Regroupement québécois de la danse et à En piste, regroupement national des arts du cirque. February 2021. 


Peer-reviewed :

« Hamlet : écrire ou ne pas avoir écrit pour le fil (de fer) », Percées. Explorations en arts vivants, Summer 2020.

« Corps scéniques, textes, textualités », Catherine Cyr and Louis Patrick LerouxPercées. Explorations en arts vivants, Summer 2020.

« Percées internationales et horizons incertains (1990-1999) » in Le théâtre contemporain au Québec, ed. Gilbert David, Presses de l’Université de Montréal, 2020. By Hervé Guay, Gilbert David and Louis Patrick Leroux, with the collaboration of Erin Hurley and Yannick Legault, p. 327-394.

« Porosité des frontières et défis de transmission (2000-15) » in Le théâtre contemporain au Québec, ed. Gilbert David, Presses de l’Université de Montréal, 2020. Written by Hélène Jacques with Francis Ducharme and Hervé Guay and the collaboration of Marie-Andrée Brault, Erin Hurley, Yannick Legault, Louis Patrick Leroux and Sara Thibault, p. 455-523.

« Enquête quantitative sur les dispositifs de médiation numérique dans les arts de la scène au Québec » Marie-Claude Lapointe, Hervé Guay, Marie-Chantal Falardeau, Marie-Claude Larouche, Marie Beaulieu, Sara Thibault, Louis Patrick Leroux et Morad Jeldi, Animation, territoires et pratiques socioculturelles (Revue ATPS), no. 17, June 2020, p. 1-14,


Non-peer reviewed :

“A l’aube d’un nouveau cirque québécois” and “Les arts du cirque au Québec. Et maintenant?” in Place au cirque !exhibition book for Musée Pointe-à-Callière, cité d’archéologie et d’histoire de Montréal, December 2020. 

“Cirkaskina et la recherche,” conference and embedded research report for Cirque Hors Piste by Ann-Fay Audet Johnston, Caroline Barbier de Reulle, Mathilde Perahia, Jacinthe Rivard and Louis Patrick Leroux. Publication: March 2020.




« The diverse narratives of Cirque du Soleil » in Narrative in Performance, London: Red Globe Press/Macmillan international higher education, 2019, p. 111-132. Co-written with Katie Lavers.


Non peer-reviewed:

“Questions for Circus Research: Explorations of Contemporary Circus in Quebec and Beyond with Louis Patrick Leroux” part of the “Adventures in Circus Research” series, CircusTalk, New York, July 2019.



 « 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.


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!,, 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.



“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.


« 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,, 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 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. 



« 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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