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Maguy Marin, Dominique Dupuy, Joanna Czajkowska
Evelyne Clavier

unfairly. Following in Beckett's theatrical footsteps, Marin achieves with May B what Jacques Rancière ( 2004 ) has called a new ‘distribution of the sensible’, making visible and audible in dance those whom society would sometimes prefer not to see and hear: people with disabilities, those individuals without fixed borders, the excluded, the defeated of history. Marin thus shares with Beckett a ‘political imagination’ close to that of the Left (see Morin, 2017 ), which is characterised by a great attention and consideration for those who are despised and rejected

in Beckett’s afterlives