A. Mangai is the pseudonym of Dr. V. Padma. She retired as Associate Professor in English from Stella Maris College, Chennai. She has been actively engaged in Tamil theatre as an actor, director and playwright for almost three decades. She has been a recipient of the Fulbright Fellowship twice: Post- Doctoral work (1997–‘98), Tisch School of Performance Studies, New York and Visiting Lecturership (2004), University of California Los Angeles. She has taught a course called Drama from ‘other’ Worlds in King Alfred’s College, Winchester, U.K, for two consecutive years in 1999 and 2000. She was given the Rockefeller-Bellagio Residency for four weeks to work on her monograph on Gender and Theatre in India in 2009. She has directed over fifteen plays so far. She is also interested in classical Tamil literature from a contemporary perspective of gender, ecology and culture. She has directed five plays of Inquilab based on classical Tamil texts. They include Avvai Manimekalai and Kurinji Pattu. She strives to create a language of theatre from the traditional forms of Tamilnadu. Her passion is to concentrate on community theatre—to make theatre the voice of the voiceless, or the marginalized. Her work with transgender community over the past few years has helped form Kannadi Kalai Kuzhu. She has also translated the pali text Therigatha—Songs of Buddhist Elder Nuns—into Tamil through the English versions. Her monograph on the Tamil writer Krithika is brought out by Sahitya Akademi.

Amitesh Grover (b.1980) is a performance-based artist living in New Delhi, India. His works move beyond theatre, into visual arts, films, photography, installations, and processes. He performs, directs, curates, and keeps his practice firmly anchored in the politics of performance. His works are shown internationally in theatres, galleries, public spaces, and on the internet. He is the recipient of several awards including MASH FICA New Media Artist award, FORECAST Emerging Artist (HKW Germany), Arte Laguna Prize nomination (Italy), Bismillah Khan National award (India) among others. He has been on numerous international artist-residencies and has spoken about his work on prominent global platforms. He is currently the curator for ITFoK Theatre Festival. He writes prolifically, works in a hybrid environment, and teaches at various art universities. His works, writings, and press reviews are available online: amiteshgrover.com

Arvind Narrain is currently the Director of Research and Practice at Arc International. He is a founding member of the Alternative Law Forum in Bangalore, India, a collective of lawyers who work on a critical practise of law. He has worked on human rights issues including mass crimes, communal conflict, LGBT rights and human rights history. He has been a part of many fact-finding reports on sexual minorities in India and was also part of the litigation team, which argued the constitutionality of Section 377 before the High Court and the Supreme Court. He is the co-editor of Law like Love: Queer perspectives on Law and the co-author of Breathing life into the Constitution: Human rights lawyering in India.

Ashutosh Potdar has one-act and full-length plays, poems, short fiction and scholarly essays in Marathi and English to his credit. His plays are performed through different festivals and venues in India.

Ashutosh has published his research work on drama and literature in English and Marathi in various journals and presented papers in national and international conferences. He has been working on a book of a collection of his poems to be published by Copper Coin Publishing. Also, he has been editing an anthology of English translations of a selection of the best Marathi short stories to be published by Aleph Books. Ashutosh runs and co-edits हाकारा । hākārā (hakara.in), a peer-reviewed bilingual journal of creative expression publishing online in Marathi and English.

Ashutosh is an associate professor at FLAME University, Pune.

Ayesha Susan Thomas is an Applied Theatre Practitioner who works primarily at the creative intersections of education, gender and sexuality.

As an IBDP/MYP & IGCSE Theatre facilitator, she has taught at the Dhirubhai Ambani International School Mumbai, and currently teaches at Neev Academy in Bangalore, India.

She has also worked as a workshop facilitator, dramaturge (The Inspire Passion Project 2014), and director on a range of projects.

In a former life, she curated the Literature section at the Kala Ghoda Arts Festival Mumbai, and performed as a Christmas Elf at an amusement park near Bradford. She has an MA in Theatre and Global Development from the University of Leeds, UK and a BA in English Literature from the University of Mumbai.

Björn Ketels studied Linguistics and German Literature (MA) as well as Sociology, Political Science, and Pedagogics in Aachen and Bonn. Björn has been working with the Goethe-Institut since 2006. He has had two years training at the regional headquarters for Northern Africa, the Middle East in Cairo, Egypt before taking the post as director at the Goethe Institut in Khartoum, Sudan. Björn has been the Director of the Goethe-Institut Sri Lanka in Colombo from 2010 to 2015, where he helped to start the “Colombo Dance Platform”, a space for contemporary dance and performance practice in Sri Lanka. After three years in the cultural department of the Goethe-Institut's head office in Munich he became the director of the Goethe-Institut / Max Mueller Bhavan in Mumbai in March 2019.

Boris Nikitin, born in Basel and son of Ukrainian-Slovakian-French-Jewish immigrants, is a director, author and essayist. His works tour internationally. He is also initiator and artistic director of the biennial festival “It's The Real Thing – Basler Dokumentartage” in Basel.

Nikitin's theater works, texts and festivals have been dealing with the representation and production of identity and reality since 2007. The plays and texts are border crossings between illusion theater and performance, between document and its falsification. In his most recent projects, Nikitin is increasingly concerned with the relationship between illness, vulnerability and art.

In the 18/19 season, as part of a non-fictional propaganda talk series, he conducted a monthly conversation with a selected personality on the subject of “Power and Vulnerability”. Guests included Didier Eribon, Milo Rau, Dean Hutton, Peggy Piesche, Christian Weissgerber, Abbot Peter of Sury and the organization EXIT.

For his complete works Nikitin was awarded the J.M.R. Lenz - Drama Prize of the City of Jena in 2017. Nikolaus Müller-Schöll, Professor of Theater Studies at the Goethe University Frankfurt, writes in his laudation: “It is the hidden potentiality that remains in the space of the possible, for whose sake Nikitin builds up his experimental arrangements. His theater invites us to think in the existing beyond the existing: Different from what we expect, critical in every sense, without reason, in any case beyond the known.”

In 2020 Nikitin was awarded the Swiss Theatre Prize.

Daniel Wetzel was born in Constance in 1969, studied Applied Theater Studies in Giessen and now lives in Athens and Berlin.

Since 2000 he forms an author and director-team with Helgard Haug and Stefan Kaegi, running under the name Rimini Protokoll. Their projects in duo or trio-constellations as well as solo works cover the fields of theatre, audio play, film and installation.

Central to their work is the further development of the respective art fields to allow for unconventional views on our reality. For example, Haug / Kaegi / Wetzel declared an annual meeting of the Daimler company a theater piece and made their audience temporary share holders (Annual Shareholders Meeting, Berlin 2009) and they staged 100% City in more than 25 cities around the world with 100 local inhabitants statistically representating their city. In Berlin and Dresden they developed interactive Stasi-audio plays (50 kilometers of files, 2011, or 10 kilometers of files, 2013). Since the 90s their work with “experts of the everyday life” is described as groundbreaking and leading the path to new forms of documentary theater.

Their work Shooting Bourbaki (2003) was awarded the NRW-Impulse-Prize; Deadline (2004), Wallenstein – a documentary-play (2006) and Situation Rooms (2013) were invited to the Berliner Theatertreffen. The Mülheimer Dramatikerpreis awarded Karl Marx: Capital, Volume One (2007) both with the audience award as well as the award for dramaturgy, Quality Control (2014) also won the audience award.

Further awards for Rimini Protokoll: German Theater Award Der Faust (2007), European Theater Award in the category New Realities (2008), War Blinded Audio Play Prize for Karl Marx: Capital, Volume One (2008), Silver Lion at the 41st Theaterbiennale in Venice (2011), Hörspielpreis der ARD (ARD’s audio drama award) (2014), Hörbuchpreis der ARD (ARD audio book prize) (2015), Swiss Grand Prix Theater / Hans-Reinhardt-Ring (2015).

Diya Naidu is an Independent Artist based in Bangalore. She is a Choreographer, Dancer, Performer, Facilitator and Arts organizer. She directs a collective of independent dancers called the Citizens of Stage Co Lab who are invested in sustainability for dance by deeply rooting it in the daily life of the community, and programs dance for Shoonya Centre for Art and Somatic Practices, a multiarts space in Bengaluru.

As a choreographer, her work has traversed into the area of gender and feminism and the somatic implications of patriarchal penetration (all manner of invasions the patriarchy enacts on all humans regardless of their gender).

She explores intimacy and touch through her work and performs several intimate works. Her latest is Strange Intimacies, a solo where she performs alone for one person for about two hours. This work creates an intimate encounter between two strangers within a safe space.

She collaborates with artists all over the world and is currently in her fifth virtual reality project in with Cie Gilles Jobin, Geneva and performed with them virtually at the Venice VR extend biennale this month.

She performs in an Indo-Swiss piece about gender fluidity called Ef_femininity which has been touring since 2018.

She has recently begun engaging in the cultural scene in Africa with the East African Soul train residency.

She offers workshops to the community around touch and human connection with the hope to transform the energy that created divisiveness. These workshops are becoming more impactful and relevant as the years go by.

She has collaborated with the Company Theater Mumbai to choreograph and perform Khwaab Sa, a piece that premiered in Taiwan and then toured extensively for two years.

During the pandemic she was commissioned to direct and make a film for Embassy of Switzerland, Delhi. She was also commissioned to write for a publication by Imlulse theater festival, Dusseldorf, this year.

Before 2014 she spent ten years in and with dance companies like The Attakkalari Center for Movement Arts, Danceworx and Rythmosaic.

She has an honors degree in English Literature from Lady Shriram College, Delhi University.

Geetanjali Kulkarni, an alumni of National School of Drama (1996), is an actor. She has acted in professional as well as experimental plays in Marathi and Hindi. Mukkam Post Bombilwadi, Sangeet Debuchya Muli, Sex Morality and Censorship, Ek Rikaami Baaju, Mummtazbhai Patangwale, Gajab Kahani, and Piya Behrupiya are some of the important productions. She has received awards for the Best Actor, Female (Z awards) for Ek Rikaami Baaju and Best Actor in a Supporting Role, Female (Meta Awards) for Sex, Morality and Censorship.

She has been awarded Sahitya Pratishthan's Vinod Doshi Fellowship for Young Theatre Artistes for the year 2011–2012.

Piya Behrupiya (an adaptation of Shakespeare’s Twelfth Night), premiered at the Globe to Globe festival, at The Globe Theatre, London. She also played one of the leads in the critically acclaimed film Court, which has received many National and International Awards and bagged Filmfare (Marathi) award for Best actor female – critics’ schooled. Mukti Bhavan, Sir, Anandi Gopal and Photograph are the recent films in which she has played a major part. She has been associated with Drama School, Mumbai. She is Project head of Goshtarang—in which children’s literature is performed for tribal and rural children as a part of Reading-Writing enhancement program.

Gob Squad is a German/British performance group working collectively and interdisciplinarily. They have been making projects for theatres, houses, shops, underground stations, car parks, hotels or directly on the street incorporating video cameras and passers-by. Their work uses the language of pop culture and media in a search for beauty in the everyday. gobsquad.com

Hitesh Porje is a theatre actor and writer working in Pune for the last seven years. He has written one-act and full length plays and poems in Marathi and Hindi. After performing in intercollegiate competitions, he has worked with several theatre companies in Pune including Aasakta Kalamancha and Rangadrishti. His play Manhole was selected for the Edinburgh Festival Fringe (2019). His plays include Gazab Kahaani, Rohini, Gajaal Khari Kaay, Khauf, Khol Do, Eka Ratrichi Baai, Exile, Bengal Tiger at the Baghdad Zoo, and Mathemagician. He has preformed in various national and international festivals. He is currently working as a dialogue writer for a Marathi television show called Dr. Babasaheb Ambedkar.

Kiran Kumar is an interdisciplinary artist, researcher and writer. His work focuses on unpacking understandings of the human body-mind through a trifold practice of dance as art, science and ritual, and on proposals for change that these understandings hold for our contemporary world. Rooted primarily in his somatic practices of Haṭha-Vinyasa yoga and traditional Indic temple dancing, his research unfolds through critical, conceptual and artistic inquiries into premodern Indic cosmologies. In his works, these transdisciplinary inquiries come to dialogue with pressing personal and planetary problems, through performance, writing, video, installation and archiving as modes of publication. Following initial study in mechanical engineering at National University of Singapore (2016), he holds an MFA in new media art from City University of Hong Kong (2012) and an MA in dance from Inter-University Centre for Dance Berlin (2014). Since 2015 his independent artistic research has been supported by the National Arts Council Singapore, Dance Nucleus (Singapore), Einstein Foundation, Literary Colloquium Berlin and Robert Bosch Foundation. Research fellowships include the Berlin Centre for Advanced Studies in Arts and Sciences (2016-18), Volkswagen Foundation’s ‘Arts & Science in Motion’ program (2016-19), Academy for Theatre and Digitality (2021), and Akademie Schloss Solitude (2022). He is currently based in Bengaluru.

Ranjit Kandalgaonkar lives and works in Mumbai and his art practice primarily comprises a lens directed at the urban context of cities. Projects such as ‘cityinflux’, ‘Gentricity’ and ‘Stories of Philanthropic Trusts’ map vulnerability within redevelopment strategies of urbanisation or record timelines and ‘blindspots’—alternate markers of a city that’s unraveling. A study of combative histories of reclamation and speculation has led to projects such as ‘Isles amidst reclamation’ and ‘7 Isles unclaimed’. Another decade-long project named ‘Modelled Recycled Systems’ records ship-breaking practices at Alang, Gujarat.

Most of his long-term projects are research-intensive and attempt to unlock historical and contemporary data by placing the work in the context of an unseen social history.

Awards and grants include Majlis Visual Arts Fellowship, UDRI Fellowship, Leverhulme Artist Residency, Harvard University SAI Artist Residency, Seed Funding Award – Wellcome Trust and a Gasworks Artist Residency.

His works have been showcased at Bergen Assembly ‘16, OCA Norway, Colomboscope ‘19, UCL Cities Methodologies ‘14, Project 88, Wellcome Collection, 1Shanthiroad, and Warehouse 421.

Rustom Bharucha recently retired as Professor of Theatre and Performance Studies from the School of Arts and Aesthetics at Jawaharlal Nehru University, New Delhi. He received his Doctor of Fine Arts from the Yale School of Drama in 1981, focusing on the interrelated areas of Dramatic Criticism and Dramaturgy. A prolific writer, he has written on a wide range of subjects including interculturalism, the question of faith, secular culture, oral history, inter-Asian cultural studies, and the performative dimensions of Indian aesthetics. Some of his books include Theatre and the World: Performance and the Politics of Culture; The Question of Faith; In the Name of the Secular: Contemporary Cultural Activism in India; Chandralekha: Woman/Dance/Resistance; The Politics of Cultural Practice: Thinking Through Theatre in an Age of Globalization; Rajasthan: An Oral History – Conversations with Komal Kothari; Another Asia: Rabindranath Tagore and Okakura Tenshin; and Terror and Performance. He has recently completed a new book Performing the Ramayana Tradition: Enactments, Interpretations, and Arguments, co-edited with Paula Richman.

Sameena Dalwai is a legal academic who teaches at the Jindal Global University in Sonipat. She writes on legal education, erotic labour, caste gender and law. She has co-edited a volume of personal memoirs, titled Babri masjid, 25 years on, and was published last year. A monograph called Bans and Bargirls is due in a few months. She regular columinist for Marathi newspapers and magazines. 

Sharmistha Saha is a theatre director and assistant professor of Theatre and Performance Studies at the Indian Institute of Technology Bombay. She has been a postdoctoral fellow at the International Research Training Group ‘Interart’ of the Freie Universität, Berlin, where she completed her tenure in 2015. She completed her doctoral thesis at Freie Universität in 2014 which was supported by German Research Foundation and Erasmus Mundus. Earlier she completed her MA and MPhil from the School of Arts and Aesthetics in Jawaharlal Nehru University, India where she was also a Junior Research Fellow (JRF) of the University Grants Commission. She graduated in Spanish language from School of language, literature and culture studies, JNU and was the recipient of Becas MAE to study at Universidad de Granada. She is also the recipient of the Premio Cervantes from the Embassy of Spain in New Delhi for her fictional work in the Spanish language. Her monograph Theatre and National Identity in Colonial India was published by Aakar and Springer in 2018. Her forthcoming edited volume includes Performance making and the archive published by Routledge and English drama on the Bombay stage in late eighteenth and early nineteenth century by Manipal University Press. She was the Inlaks-Asia Art Archive Art Grant awardee for 2017–18 and has been commissioned to direct plays by Tagore Centre in Berlin and Lalit Kala Kendra, Pune University amongst others.

Smriti Rajgarhia is Director of the Serendipity Arts Foundation and the Serendipity Arts Festival. Trained as an architect with a Masters in Design, Smriti began her career in the arts fourteen years ago working with a private archive in New Delhi, where she eventually created a museum space and archive for the collection. During this stint, her interest expanded into bringing art to the public, and contextualising art within the region through arts education and awareness. Smriti has also curated exhibitions on subjects that reflect the history and relevance of archives. From running a bespoke furniture manufacturing unit where she designed furniture, to working with exhibition space design, Art and Design are two spaces that Smriti is keen to continue working with, and often explores design through print media as well. Currently, she is leading the Foundation and working on the Serendipity Arts Festival to bring her passion for Art and Design to the forefront by creating unique opportunities for creative individuals. With these two platforms, she endeavours to explore newer forms of representation and re-contextualise the kind of programming institutions need to engage with to widen the demographic of the audience for the Arts in India. Her personal interest also lies in adapting urban spaces to presentation of the arts, reclaiming the urban and questioning the impact of art and cultural interventions for a city/state/country.

Soumyabrata Choudhury currently teaches at the School of Arts and Aesthetics, JNU. He has previously taught at CSSSC, Kolkata, and has been a fellow at CSDS, Delhi and IIAS, Shimla. His book Theatre, Number, Event: Three Studies on the Relationship of Sovereignty, Power and Truth was published by IIAS, Shimla in 2013. His new book Ambedkar and Other Immortals: An Untouchable Research Programme came out last year. He has also acted and directed in a number of performances across the country for the last thirty years. His latest performance was an adaptation Franz Kafka’s story A report to the Academy at the Expression Lab, Pune, in July 2019.

Venkat Srinivasan is a visiting researcher and archivist at the Archives, National Centre for Biological Sciences in Bangalore, India. The Archives is a public collecting space for the history of contemporary biology in India. The guiding aim for the Archives team has been to simply enable a diversity of stories. This aim shapes the purpose of an archive and what environments it could nourish in the future. Collectively, we can reimagine the Archives as a crucible for education and as a way to strengthen the commons. To this end, the archives team is working towards a consortium of science archives and developing digital templates to pull archival material into coherent stories. Prior to this, he was a research engineer at the SLAC National Accelerator Laboratory, Stanford University. He is an independent science writer, with work in The Atlantic and Scientific American online, Nautilus, Aeon, Wired, and the Caravan.

2015 में एल्गार कि शुरवात हुई! स्वातंत्र्य, समता, न्याय, बंधुता इन संविधानीक मुल्योंको अपनी भूमिका मानकर हमने सामुहिक कार्य शुरू किआ!

क्युकीं साल 2014 में भारत में फासीवादी ताकतें उभरकर आ रही थी, और हिंसा कि संस्कृती को बढावा दिया जा रहा था, इसी दरम्यान कई विचारवंतो कि हत्या का सिलसिला शुरू हुआ और अभिव्यक्ती को भी दबाया जा रहा था! इसी पार्ष्वभूमी पर हम सामाजिक सोच रखनेवाले लोग मानवमुक्ती की संस्कृती को बढावा देने के लिए वैक्लपिक सांस्कृतीक आंदोलन शुरू करने का निष्चय किया!

कलानिर्मिती : जनजागृती के लिए पथनाटय, लघु नाटक, रेडिओ नाटक, आंबेडकरी शाहिरी जलसा, नाटक, गीत, संगीत निमिर्ती और प्रयोगषील व्हिडीओग्राफी, सोषल मिडीया पर विविध कार्यक्रम का आयोजन!

कार्यषाला : बस्तीओं में जाकर गीत, संगीत, नाटक के माध्यम से विविकवादी दृष्टीकोन को बढावा देने के लिए कार्यषालाऐं!

विविध संघटनो का सांस्कृतिक दल सक्षम करने के लिए कार्यषाला और जेंडर ईक्वालिटी, सांप्रदायिक सौहार्द्र, महिला सशक्तिकरण, संविधानिक मुल्यो के मुद्दो को लेकर कार्यशालाये की, और साथ ही कुछ स्कूल से जुड कर बच्चो के मानसिक विकास, शारीरिक विकास, समाज मे उनका महत्व, शिक्षा का महत्व, ऐसे अनेक मुद्दो को लेकर भी लगातार प्रयास जारी है!

एल्गार काम मुंबई, महाराष्ट्र्र के साथ छत्तीसगढ़, बिहार, झारखंड, दिल्ली, गोवा, बैंगलोर, जैसे अनेक शहर, राज्यो में काम और प्रस्तुतीया पोहचाई है!

पिछले कुछ सालों में एल्गार के साथ कई लोग और संघटन, संस्था जुडी है!

लोकतांत्रिक विचारधारा को माननेवाले देषभर के सांस्कृतिक कर्मीयो को साथ में लाने का काम रेला समूहने किया है इस समूह को मजबूत करने के लिए एल्गार कि महत्वपूर्ण भूमिका रही है!

एल्गार समूह के सदस्य अलग अलग आर्थिक और सामाजिक चुनौतियो का सामना करते हुऐ, शोषनमुक्त समाज निर्माण करने के लिए कला और सांस्कृतिक आंदोलन के प्रति कटिबंध है!

Yalgaar Sanskrutik Manch was started in 2015, with the aim of doing community work, with constitutional values at its core—freedom, equality, justice, brotherhood. 2014 was a critical year because widespread violence and killings of ideologues and freedom of expression being supressed. With this as a backdrop they started alternative cultural movements with liberation as its focus. To bring social awakening among the people they started street plays, public meetings, poetry recitations, songs, plays, and experimenting with videos and through social media organised varied programs. They regularly conduct workshops to influence people in different locales, and promote rationalist ideas through their plays and music. They collaborate with many NGOs and cultural groups and work on issues of women empowerment and constitutional values. They work with schools and focus on children’s physical, intellectual growth and the importance of education. They work in areas like Mumbai, Chhattisgarh, Bihar, Jharkhand, Goa, Bangalore, New Delhi. In the last few years many people and groups have joined hands with Yalgaar, especially those who believe in democratic values, for instance Rela. The members of Yalgaar face several financial and social problems but their quest for a free society and to produce art and bring about a cultural awareness binds them together.

Yashadatta Somaji Alone was born in 1963, at Chandrapur Maharashtra and studied BFA (Drawing & Painting) from Nagpur, and M. A. (Fine) Art History, Faculty Of Fine Arts, M. S. University, Baroda. He was awarded UGC Junior and Senior Research fellowship in 1988 in the History of Art. He obtained M.Phil and Ph. D. from Centre for Historical Studies, Jawaharlal Nehru University, New Delhi. Presently he is working at School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi from 8th March 2007 onwards. Previously he worked at Dept. of Archaeology, Deccan College Post Graduate Research Institute (deemed university) Pune and at Dept of Fine Arts Kurukshetra University, Kurukshetra. He has published several research papers in journals and chapters in edited volumes on Ancient Indian Art and critic of Walter Spink, Ajanta caves and Buddhist caves in western India, critic of modern Indian art, popular neo-Buddhist visual culture, in addition to the above, research papers on the interpretative frame-work of Dr. Ambedkar and social sciences has been published. He has involved himself in writing some art exhibition catalogues as a point of departure to critic the idea of meta-narratives modernity as tracing the difference. His research interests include ancient Indian art, Buddhist art, modern Indian art and popular visual culture, Neo-Buddhist visual culture, philosophy as well general social sciences. Prof. Y. S. Alone presented research papers at national and international art-history and social sciences seminars, conferences at many places in India and abroad. He has lectured widely at many places in India and outside India mainly Germany, Spain, USA, China, and Sri Lanka. He was nominated as ICCR chair visiting Professor in Shenzhen University China, and was invited as short term visiting professor at Renmin University Beijing China, Autonoma University Madrid, Heidelberg University Germany. He has been engaged in popular lectures as part of social movements. Prof. Y S. Alone also served as members of various committees of Government of India. His recently published book—Early Western Indian Buddhist Caves: Forms and Patronage, Kaveri Books, New Delhi, 2014, ISBN 978-81-7479. He has evolved a critical conceptual formulation which is termed as ‘protected ignorance’ and has published papers on it.

Zhao Chuan was born in the 1960s and works across visual art, theater, and literature. He creates alternative and socially engaged theatre, and is the founding member of Shanghai-based theatre collective Grass Stage since 2005. Their works devote to the promotion of new social theatre movement and the creation of non-profit public space for intellectual exchange. These works include: Wild Seeds series, a Social Theater Trilogy: World Factory, Madmen’s Stories and The Little Society. He has been involved in many international art residencies, collaboration projects and teaching, and published over 10 different books in fiction, essay and art criticism etc.

Zuleikha Chaudhari is a theatre director and lighting designer based in Delhi. Her works shift between theatre and installation. Her ongoing research considers the structures and codes of performance as well the function and processes of the actor as reality and truth production. Since 2015 onwards she has been exploring the framework of law as performance, the role of performance in law and the performativity of legal truth-production. Her works have been shown at the Weiner Festwochen, Kunsten FestivaldesArts, Festival D’Automne, Seoul Performing Arts Festival, Asian Performing Arts Festival, Tokyo, Berlin Biennale, Kochi Biennale, Dhaka Art Summit, INSERT2014, New Delhi Chronus Art Centre, Shanghai, Essl Museum, Vienna, ifa Galleries, Stuttgart and Berlin, Johannesburg Art Gallery etc.

She is currently developing the Alkazi Theatre Archive at the Alkazi Foundation of the Arts, New Delhi.