a collaborative research project that interrogates how artists and researchers use dialogue in practice

Guest Contributors

The event will be chaired by Dr Gillian Whiteley  

Dr Gillian Whiteley is based at School of the Arts, Loughborough University where she is leader of Politicized Practice Research Group and Co-organiser of RadicalAesthetics-RadicalArt (RaRa) with Dr. Jane Tormey ( events, network and book series published by IB Tauris/Bloomsbury). She is also Associate Editor of the journal Art & the Public Sphere (Intellect) and is part of Alchemy/Schmalchemy, a multimedia laboratory for improvisation and performance. See

Michael Pinchbeck has been invited to observe and gather information during the event and offer a creative response and facilitate discussion with Indialogue2014 participants on Sunday morning.

Michael Pinchbeck is a writer, live artist and theatre maker based in Nottingham (UK). He co-founded Metro-Boulot-Dodo Theatre Company in 1997 after studying Theatre and Creative Writing at Lancaster University. He left the company in 2004 to embark on a five-year live art project – The Long and Winding Road, performed at the ICA (London), Ikon Gallery (Birmingham), and The Bluecoat (Liverpool). He was commissioned by Nottingham Playhouse to write The White Album (2006) and The Ashes (2011). He was recently awarded funding from Arts Council England and the British Council to develop a new theatre project – Bolero – that premiered at neat14 and is currently touring Bosnia & Herzegovina. He has toured a trilogy of devised performances inspired by Shakespeare plays: The Beginning, The Middle and The End. His devised work has been selected for the British Council’s Edinburgh Showcase three times. Michael is a co-director of Hatch, a live art platform in the East Midlands, and lectures in drama at the University of Lincoln. He has an MA in Performance and Live Art from Nottingham Trent University and is pursuing a PhD at Loughborough University exploring the role of the dramaturg in contemporary performance. He has written on dramaturgy for Contemporary Theatre Review, Dance Theatre Journal and Studies in Theatre and Performance.


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