Francosphères (2020), 9, (1), 123–125.



Louise Brown is a PhD candidate at the University of California, Los Angeles (UCLA). She teaches in the Department of French and Francophone Studies and the LGBTQ Studies Program. Her research examines the pivotal role of poetry in the discursive production of queerness in nineteenth- and early twentieth-century France, and she is interested in problematizing current conceptions of, and critical approaches to, queer poetry.

Evelyne Clavier is the author of a thesis entitled Danser avec Samuel Beckett (2018). She has conducted various dance experiments based on the works of Samuel Beckett and some of their ‘choreographic projections’, including ‘Essayer une danse de gestes et de textes’ (2018), ‘Gestes et textes en Ulis TFC: écrire avec May B de Maguy Marin’ (2019). She is the author of a chapter entitled ‘Samuel Beckett and Modern Dance’ published in Beckett and Modernism (Palgrave Macmillan, 2018).

Marie Duret-Pujol is Lecturer in Theatre Studies at the University of Bordeaux Montaigne and a member of the research group CLARE/ARTES. Her research explores contemporary comedy. She has recently published Comique et politique chez les Modernes et les Anciens (Presses Universitaires de Bordeaux, 2016). She has also worked as a dramaturg, including on the play Welcome (2018), directed by Patrice Thibaud.

Everett Frost produced and directed the award-winning American national broadcast premieres of Beckett’s five completed radio plays. In addition to original radio works, and the libretto for Ubu Rah!, an operatic send-up of Jarry’s play (with Edward Cansino), Frost’s other award-winning productions include the American version of John Cage’s Roaratorio: An Irish Circus on Finnegans Wake, and radio plays by Bertolt Brecht, Maurcio Kagel, Vaclav Havel, Ingeborg Bachmann, Peter Handke, and Suzan-Lori Parks. He was principle compiler of the Notes Diverse Holo[graph] catalogue of Beckett’s reading notes at Trinity College Dublin [SBT/A 16 (2006)], and editor of the Faber edition of Beckett’s All That Fall and Other Plays for Radio and Screen. He has been founder and Artistic Director of Voices International, an Executive Producer and radio project development director at WGBH, Boston (public radio and television), and is retired from being Professor of Television, Radio and Film at New York University, and Professor of English and Humanities at California State University, Fresno.

Dominic Glynn is Assistant Professor in Translation Studies at the City University of Hong Kong. Previously, he was Lecturer in French at the Institute of Modern Languages Research (UK), where he led the Arts and Humanities Research Council-funded network ‘Literature under Constraint’ (2017–19). Publications include (Re)Telling Old Stories (Peter Lang, 2015), the co-edited volumes 1 and 2 of Littéraire. Pour Alain Viala (Artois Presses Université, 2018), and a co-edited special issue of French Cultural Studies on ‘Mediating Literature’ (2019).

Jean-Michel Gouvard is Professor of French Literature at the University of Bordeaux Montaigne (France) and a member of the research group TELEM (EA 4195). His current research focuses on the interactions between literature, culture, and society, from the Second Empire to the post-WW2 period. He recently published an essay on Charles Baudelaire. Le Spleen de Paris (Ellipses, 2014), and another on Jules Verne and Walter Benjamin, Le Nautilus en bouteille. Une lecture de Jules Verne à la lumière de Walter Benjamin (Pontcerq, 2019). He is currently writing a book on Beckett, entitled Lire Beckett, which looks at his work from a cultural and sociological perspective.

Marc Paquien is a French director of theatre and opera. He has directed numerous plays, several of which are directly linked to Beckett, including John Millington Synge’s The Playboy of the Western World (Théâtre national de Chaillot and Théâtre Vidy de Lausanne), The Blind by Xavier Dayer, inspired by Maurice Maeterlinck (Théâtre Gérard Philipe and Almeida Theatre London), Molly Bloom, from James Joyce’s Ulysses, with Anouk Grinberg and Blandine Masson (Théâtre des Bouffes du Nord). He directed Happy Days in 2012 and, since its première, the play has been performed throughout France and Canada.

Matthieu Protin teaches Theatre Studies at the Lycée Jean Jaurès in Montreuil (France). He is also a course lecturer at Sciences-Po Paris and at the Sorbonne Nouvelle, having previously taught at the École Nationale Supérieure des Arts et Techniques du Théâtre in Lyon and at the École Supérieure d’Art Dramatique in Paris. In 2016, he published his first book, De la page au plateau: Beckett auteur et metteur en scène de son premier théâtre (Presses Sorbonne nouvelle), and has written numerous academic papers in English and French about Beckett, but also on Koltès, Feydeau, Jarry, and Dario Fo. Besides his academic activities, he works as a professional actor.

Pascale Sardin is Professor in English Studies at the University of Bordeaux Montaigne (France). Her research focuses on issues of translation and feminism, and on Beckettian studies. She is the author of Samuel Beckett auto-traducteur où l’art de l’empêchement (Artois Presses Université, 2002), and Samuel Beckett et la passion maternelle ou l’hystérie à l’œuvre (Presses Universitaires de Bordeaux, 2009), and has published articles in Palimpsestes, French Studies, and Samuel Beckett Today/Aujourd’hui.

Rebekah Vince is a teaching fellow in French at Durham University and associate editor of Francosphères. She will begin a lectureship in French at Queen Mary University of London in September 2020. Her volume on Jewish-Muslim Interactions: Performing Cultures between North Africa and France, co-edited with Sami Everett, is forthcoming with Liverpool University Press. She is also involved in the collective translation of Une enfance juive en Méditerranée musulmane (2012) into English, forthcoming in the University of California Series in Jewish History and Cultures.

Jean-Pierre Vincent is a French actor, producer, and theatre director. He was artistic director of the Théâtre de Strasbourg, and general administrator of the Comédie Française, and he is currently a board member of the Festival d’Avignon. Since the 1950s, he has directed dozens of plays, from Shakespeare to Brecht, and from Molière to Beckett, whose Waiting for Godot he directed in 2015.