Portrait of  Tim Moss Tim Moss

T.Moss@hud.ac.uk | 01484 478405


Since 1985 Tim has worked as a performer, director and writer in professional theatre. He is a director on the board of IOU Theatre, having worked with the company since 1993, devising and performing site-specific works, installation events, middle-scale tours and outdoor performance projects. For three years he was the Centre Director at Lumb Bank, The Ted Hughes Arvon Foundation Creative Writing Centre. His practice now centres on writing for performance, particularly theatre, and fiction writing, as well as script editing for film production companies and freelance writers.

He started his academic career at the University of Salford in 1998 as a guest lecturer, and in 2001 began teaching full-time on the BA Performing Arts and Media Performance courses. Whilst there he studied part-time for an MA in Writing at Sheffield Hallam University, which involved writing a full-length play and an 80,000 word novel and critically analysing both the construction of the text and the writing process. Thereafter he taught on the MA Television and Radio Scriptwriting Degree at Salford as well as co-writing their Contemporary Theatre Practice degree programme. In 2004 he moved to the Drama Division at the University of Huddersfield. Here he set up the MA Writing for Performance and teaches scriptwriting at both MA and undergraduate level, as well as other undergraduate drama modules.

Outside of the University he mainly snowboards and plays poker.

Research and Scholarship

Tim’s main area of research concerns the practical and analytical investigation of writing for performance. He is interested in the role of text in postdramatic work and the practical challenges that this presents to performance writers, when their text may no longer provide (or seem to provide) the underlying structure around which a performance is fashioned. This research has led to the development of the MA Writing for Performance that the Drama Division has offered since September 2007.

He is a member of Greenhouse along with Dr. Deborah Middleton and Quiddity Theatre (John Britton and Hilary Elliott), an organisation that explores creative processes through writing and movement, offering professional practitioners environments to explore and deepen their understanding and use of their creativity. The organisation recently ran a week-long workshop for practitioners and theatre students at Universidad Nacional Autónoma de México. This research in the area of understanding creativity grew out of and was developed through a three year TQEF project funded by the University. Two other British Universities have subsequently asked for this knowledge and understanding to be disseminated at their institutions. The latest performance outcome from this research is Cowboy Manifesto: A Writer's Guide to the Wild West (with Deborah Middleton) and the writing and production of a series of short films on Creativity to be used as learning tools and to further disseminate the research.

He has just finished writing a chapter about the theatre company Faulty Optic for Devising in Process (Ed. Alex Mermikides and Jackie Smart) for publication by Palgrave in March 2010. Along with colleague Dr. Deborah Middleton, he is beginning a three year investigation of IOU Theatre’s creative practice, to run alongside the company’s three year project Polarity. This project will analyse past practice as well as documenting and researching their current work.

Publications and Other Research Outputs


Moss, T (2016) ‘Uncanny Actor Training – working with entfremdung (estrangement; depersonalisation; derealisation.)’. In: Inspire Conference 2016, 21/06/2016, University of Huddersfield


Moss, T (2015) ‘Alpha and beta: how to be both’. In: Psychoanalysis & Education Conference, 22nd to 24th October 2015, University of Sheffield

Middleton, D. and Moss, T. (2015) ‘'Beware the Danger of Merging': Conceptual Blending and Cognitive Dissonance in the work of IOU TheatreJournal for Artistic Research (8). ISSN 2235-0225


Moss, T., Thresher, M., Morris, E. and Johnson, N. (2013) Kelter@Picturedrome Holmfirth [Performance with Peter Hook and The Light (ex-Joy Division and New Order)] [Performance] In: Kelter, 15th April 2013, Holmfirth, UK

Moss, T., Thresher, M., Mills, J. and Johnson, N. (2013) Falling [Audio] (Unpublished)


Moss, T., Thresher, M., Morris, E. and Johnson, N. (2012) Kelter@Sound Control, Manchester [Performance with Altered Sky and White Clouds and Gunfire] [Performance] In: White Clouds and Gunfire Tour, 29th October 2012, Sound Control, Manchester


Moss, T (2010) ‘The Making of Faulty Optic's Dead Wedding: Inertia, Chaos and Adaptation’. In: Devising in Process. Basingstoke: Palgrave Macmillan. pp. 74-92. ISBN 978-0-230-57367-3


Britton, J., Elliott, H., Middleton, D. and Moss, T. (2008) ‘Writing the Body, Dancing The Mind’. In: 'Writing the Body, Dancing The Mind’ workshop, July 2008, National University of Mexico


Middleton, D. and Moss, T. (2007) Cowboy Manifesto: A Writers’ Guide to the Wild West [Video]


Moss, T (2005) ‘How Crimp's Open Texts help keep live performance a 'Cool' medium (McLuhan) for audiences.’. In: FIRT/IFTR International Conference Fictional/Real in Contemporary Theatre, 17 - 20 November 2005, Jagiellonian University, Krakow, Poland , pp. 1-12

Research Degree Supervision

As well as running the taught MA Writing for Performance, I am keen to supervise MA by Research/ MPhil or to co-supervise PhD students in the following areas:

Scriptwriting for live or recorded media

I am keen to take on supervision of both practice and/or analysis based research into the development of text for performance in live performance contexts or for television, film and radio.

Creative Practice

Along with colleagues in the Drama Division, for the past four years I have been exploring creative practice and pedagogy. I would be happy to be supervise postgraduates in this area of research.

Devising Performance and Directing Performance

Part of my research has been to analyse and document the practice of companies that devise their performances and I would be happy to supervise students who wish to explore this practice, again either through practice or more traditional research methods. I am currently co-supervising two students whose research is in the area of theatre direction.