Peter Dickinson (Contemporary Arts)—Director of IPS and Chair, IPS Steering Committee
Peter’s research investigates the time- and place-based relationships between audience and event across a range of aesthetic practices (including dance, film, theatre, and performance art) and social formations (from same-sex marriage to urban mega-events). He is the author, editor, or co-editor of ten books and special journal issues, including, most recently: World Stages, Local Audiences: Essays on Performance, Place and Politics (2010); Women and Comedy: History, Theory, Practice (2014); Mega-Event Cities: Art/Audiences/Aftermaths (2016); and Q2Q: Queer Theatre and Performance in Canada (2018). His essays have appeared in Dance Research Journal, Modern Drama, Screen, TDR: The Drama Review, Text and Performance Quarterly, Theatre Journal, Theatre Research in Canada, Canadian Theatre Review, Theatre Survey, CinéAction, Canadian Journal of Film Studies, as well as numerous other journals and edited collections. Peter is also a playwright, and productions of his work include The Objecthood of Chairs (SFU Woodward’s, 2010), Positive ID (Berkeley Theatre, Toronto, 2012), Long Division [Part 1 / Part 2] (Pi Theatre, 2016/17), and The Bathers (excerpt, Zee Zee Theatre, 2017). As a writer, researcher, facilitator, outside eye, collaborator, and occasional mover, Peter has worked with several Vancouver-based dance artists and companies, including Justine A. Chambers and Alexa Mardon, plastic orchid factory, Ziyian Kwan/dumb instrument Dance, Tara Cheyenne Performance, Kokoro Dance, Vanessa Goodman/action at a distance, Lesley Telford/Inverso Dance, and Rob Kitsos. These collaborations are the subject of Peter’s most recent monograph, My Vancouver Dance History, which is forthcoming from McGill-Queen's University Press in 2020. Between 2008 and 2018 Peter regularly documented Vancouver performance practice at performanceplacepolitics.blogspot.ca.