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History and purposes of the journal

Double Jeu is the journal of the Department of Performing Arts at the University of Caen Normandy. Founded in 2003 by Vincent Amiel and Gérard-Denis Farcy, published once a year, it was first associated with CReDAS (Center for Research and Documentation of the Performing Arts), and then, from 2008, with LASLAR (Literature, Performing Arts, Romance Languages – EA 4256), a laboratory born from the merger of CReDAS with two other research teams. Anne Surgers (from 2010 to 2018), Baptiste Villenave (since 2015) and Cristina De Simone (since 2018), successively took up the torch of the founders as publication directors.

Focused on a specific theme or artist, each issue welcomes papers about cinema and performing arts, but more specifically about their junctions. Indeed, for more than a century, performing arts and cinema have been questioning the world, giving each other new representations, forms that are food for thought, works of art that modify their visions.

There are countless examples of mutual enrichment. Thus, rather than merely juxtapose performing arts and cinema, Double Jeu intends to test both arts with hypotheses and problems that are common to them, to question one with the concepts of the other and vice versa; and of course to explore possible bridges and frictions between them. Double Jeu favors the diversity and the crossing of methodological approaches.

Throughout its issues, the journal has sought to revisit, by examining them in a new light, the career and work of major artists, who have distinguished themselves in cinema and drama, and have sometimes built bridges connecting both of them: Sacha Guitry, Alain Resnais, Patrice Chéreau… It has also demonstrated the prominence of more confidential artists, but whose singular work evidences an ever renewed interest in the resources of performing arts and cinema: René Allio, Marcel Achard, Henry Bernstein… Other issues did not specifically deal with key figures in the field of performing arts or cinema, in a monographic way, but rather with transversal themes, likely to interest cinema studies as much as drama studies. Issues have thus focused on the creative actor; on scenes of seduction in cinema and performing arts; on the representations of the other; on the simultaneously antagonistic and complementary notions of action and contemplation; on ways of figuring power; or on Francis of Assisi. Finally, the journal does not refrain from exploring the relationship between cinema and performing arts in well defined spatio-temporal contexts: for instance, an issue has focused on transfers between both arts in the United States since the Second World War, especially on the links between Broadway and Hollywood. In addition, the journal offers regular reports of publications related to its scientific field, as well as interviews with important artists, who on this occasion give informations allowing a better understanding of their work.

Editorial policy

The team

The journal is led by two publication directors, members of both the LASLAR research team (Literature, Performing Arts, Romance Languages – EA 4256) and the Department of Performing Arts at the University of Caen Normandy (UFR Humanities and Social Sciences). Systematically, one of them is a specialist in film studies, while the other is a specialist in drama studies, and more broadly in performing arts. Both ensure the continuity of the editorial work, with the precious help of an editorial secretary from the Presses universitaires de Caen (PUC).

The editorial board of the journal is made up of all the lecturers and researchers of the Department of Performing Arts at the University of Caen Normandy.

The scientific committee is currently composed of 8 members, who are recognized european specialists in the fields covered by the journal. They guarantee its international reputation and its full integration in the university community. The members of the scientific committee are solicited punctually, in particular for choices of experts or collaborators.

Editorial process

The editorial board, which meets at least once a year, determines the editorial policy of the journal. It selects the subjects of the issues to come, and designates the coordinators of these issues.

Generally, each issue results in a call for papers. Sometimes, however, it happens that an issue hosts papers stemming from seminars or symposiums. The call for papers is widely shared thanks to various platforms (Calenda and Fabula) and mailing lists (for film studies, AFECCAV, SERCIA and CICLAHO in particular; for drama studies, Dramatica and RADAC, among others). When the call for papers is closed, the coordinators of the issue meet and select among the proposals those which appear the most relevant and stimulating.

The papers, whose length generally varies between 25,000 and 35,000 characters, are accompanied by a short summary in French and English (500 characters each maximum), as well as a short “bio-bibliographic” note about each author. The latter are required to observe the editorial standards provided to them. The instructions for authors are those of the Presses universitaires de Caen (PUC), available on the PUC website ( under the heading “Informations aux auteurs”.

The papers are evaluated according to the so-called “double blind peer review process”. In other words, when the coordinators of the issue receive the papers, they anonymize them and submit them to the expertise of two french or foreign academics, chosen for their competence and their notoriety in the field. These two experts also remain anonymous throughout the procedure. Each of them evaluates the paper according to criteria listed in a specific document, and then submits a written report to the coordinators of the issue. According to their opinions (favorable / favorable with corrections / unfavorable), the paper is published as it is, or rejected, or amended by the author before publication. A single negative opinion is enough to reject a paper. If the requested corrections are not carried out, or insufficiently taken into account, the coordinators of the issue are allowed to refuse the publication.

The release of an issue is generally accompanied by a screening or a debate, in collaboration with institutions that are cultural partners of the University of Caen Normandy.

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