Sandrine Simeon, PhD

Faculty - Full-Time
Image of Sandrine Simeon.
Assistant Professor of French Language and Culture

Originally from Paris, I completed my undergraduate studies at the university of Paris III, the Sorbonne Nouvelle. I then pursued a master’s degree in film at Concordia University in Montréal, and worked in the film industry. Returning to my academic endeavors, I obtained additional degrees in French and Francophone Studies from Penn State University, where I wrote a doctoral dissertation on the filming of live theater.

My research continues to focus on “film-théâtre” and the teaching methods of theater through film. The practice of filming theater for digital distribution and archival preservation has expanded in recent years; venues to broadcast these recordings have proliferated, and audiences welcome the mediation of the screens enabling them opportunity to remotely attend theatrical productions. Yet, to date, a monograph has yet to be published on the aesthetics of filming theater, its theoretical relevance and its applicability in academia. My book-length study, Film-Theater: Ethics and Aesthetics of Filming Theater, intends to address this gap.

  • Pennsylvania State University–PhD in French and Francophone Studies 
  • Pennsylvania State University–MA in French and Francophone Studies 
  • Université Sorbonne Nouvelle Paris III–MA Cinema Studies
  • Beginning French I
  • Advanced French Composition
  • Culture History of the French-Speaking World
  • Women, Space and the Image in Francophone Contexts
  • Advanced French Conversation
  • Culture History of French Cinema
  • Filming theater
  • French theater and literature
  • Film aesthetics
  • Early modern French literature

Edited volume

  • Siméon, Sandrine and Agathe Torti-Alcayaga, eds. À vos écrans : la scène Anglophone en 2D. Coup de Théâtre 31, 2017.


  • Enregistrer et diffuser le répertoire théâtral. Retour sur les relations d’interdépendance entre la Comédie-Française et les écrans ». Revue d’Histoire du Théâtre. Ed. Léonor Delaunay. Paris : Société d’histoire du théâtre, 2019. 161-175.
  • « Film-théâtre, intermédialité et nouveaux enjeux esthétiques. » Intermedialités/Intermediality, 33, 2019. 
  • Siméon, Sandrine. “Film-Theatre as an Intermedial Occurrence of Theatre: Recycling Ionesco’s Bald Soprano.” Romance Studies 35, no. 4 (2018): 248–259.
  • Film-Theater as an Intermedial Occurrence of Theater: Recycling Ionesco’s Bald Soprano.” Romance Studies. 35.4 (2018): 248-259. 
  • Effets de présence: quels procédés pour le film-théâtre? Brasilian Journal on Presence Studies. 7.3 (2017). 
  • Dominique Thiel filme Douze hommes en colère. Coup de Théâtre 31. Ed. Sandrine Siméon et Agathe Torti Alcayaga. Paris : RADAC, 2017. 169-184.
  • L’impossible document: Le Dernier Caravansérail d’Ariane Mnouchkine, un monument? European Drama and Performance Studies. Ed. Folco, Alice et Jean-Yves Vialleton. Paris: Classiques Garnier, 2014-2. 265-276. Nominated for the Malcolm Bowie Prize.
  • Le film-théâtre, un troisième temps du théâtre? Théâtre, levain du cinéma ; théâtre, destin du cinéma. Ed. Torti-Alcayaga, Agathe et Kiehl, Christine. Paris: Le Manuscrit, 2013. 169-183.
  • Une imposture peut en cacher une autre: le frontispice de Tartuffe démasqué. Cahiers du dix-septième. XIII, 2 (2011): 160-183. Co-authored with Sophia Khadraoui.
  • L’esthétique spatiale du Lancelot de Bresson. Sites. 15. 4 (Sept. 2011): 433-441.
  • Allotopie: vers une problématisation de l’espace scénique filmé. Lexique commun/Lexique spécialisé. Centre de Recherche sur la Théorie et la Pratique Discursives. (2010): 275-278.


  • Siméon, Sandrine. Interview of Flo Buckeridge, NT Live General Manager (January 2016). Coup de théâtre. 31. (2017).


  • “‘Events Cinema’: Not a Lesser Film, Rather the Best Seat in the House!’ Screen Studies Conference, Glasgow, Scotland, June 2019.
  • “The Gleaners and I: gleaning ‘en abyme’, a reflexive cinematic writing of the authorial self”. NeMLA (North-east Modern Language Association), Pittsburgh, USA, April 2018.
  • Complicités conceptuelles et hybridité du film-théâtre. APFUCC (Association des Professeur.e.s de Français des Universités et Collèges Canadiens), Toronto, CA, May 2017.
  • “Theatre in 2D: The Rhetoric of the NT Live Films.” SCMS (Society for Cinema and Media Studies), Atlanta, USA, April 2016.
  • “Intermedial Embodiments in Ionesco’s La Cantatrice chauve.” Romance Studies Colloquium, Swansea University, Swansea, Wales, July 2015.
  • La Haine: une chronique d’émeutes annoncées? 20th and 21st Century French and Francophone Studies Colloquium, Baton Rouge, USA, March 2015.
  • Plaire pour instruire ou instruire pour plaire ? Un texte et son contexte: le film-théâtre revisite Phèdre de Racine. Shippensburg University Fifth Biennial Modern Languages Conference, Shippensburg, USA, May 2014.
  • “Filming the Stage: A New Rhetoric for a New Kind of Film.” Presenter and Panel Chair. North Eastern Modern Language Association Convention, Harrisburg, USA, April 2014.
  • Validations et invalidations: le film-théâtre, une herméneutique des formes théâtrales textuelles et scéniques. Modern Language Association Convention, Chicago, USA, January 2014.
  • Le film-théâtre: entre théâtre et cinéma. Laboratoires CRIDAF de Paris 13 and New York University, Paris, France, March 2012.
  • Entre film et théâtre: l’espace frontière de la rampe. 20th and 21st Century French and Francophone Studies Colloquium, Long Beach, USA, March 2012.
  • Filmer le théâtre: plaidoyer pour une forme d’art autonome. Société québécoise d’études théâtrales, Montréal, Canada, June 2011.
  • Le théâtre à l’écran ou le “troisième temps” du théâtre. Conseil International d’Études Francophones, Montréal, Canada, July 2010.
  • Le Lancelot de Bresson, une esthétique spatiale. 20th and 21st Century French and Francophone Studies Colloquium, Toronto, Canada, March 2010.
  • Signe d’une imposture ou imposture du signe: sémio-analyse du frontispice de Tartuffe. Société d’Études pluridisciplinaires du XVIIe siècle, Saskatoon, Canada, October 2008.
  • 2016-2018, Visiting Assistant Professor, Franklin & Marshall College, Lancaster PA
  • 2013-2016, Assistant Professor, Susquehanna University, Selinsgrove, PA
  • 2007-2013, Instructor/Grad. assistant, The Pennsylvania State University, University Park, PA 
  • OCG Resource Fund. $2500 awarded. This fund was granted to faculty members for scholarly projects. It enabled me to conduct research for a chapter for my book on the Comédie-Française and its relations with French television (Summer 2017).
  • Academic Innovation Fund Award. $150 awarded. This fund serves to underwrite innovations in teaching, course development or curricular design that show promise of having a significant and positive impact on the academic environment at Franklin & Marshall College. These funds served to rent a 35mm film for my course, “Le cinéma francophone au féminin.” I invited a colleague from the film program at F&M College to present it (Fall 2016).    
  • Tournées Festival Grant. $4400 awarded. This grant helps fund Susquehanna University’s French Program Film Festival. French American Cultural Exchange (Spring 2015; Spring 2016).
  • Weber Chair in the Humanities. $6000 awarded. This fund, established by the Women's Auxiliary of Susquehanna University and the National Endowment for the Humanities, supports an outstanding new teacher/scholar in a humanities discipline. Susquehanna University (2013-2015).  
  • Faculty Research Grant. $2000 awarded. Susquehanna University (2014; 2015).
  • Faculty recognition. Faculty member who has been instrumental to the academic achievement of first-year students at Penn State. Pennsylvania State University (2010).