As part of my practice-based doctoral thesis, I designed an experiment to develop a model of collaborative theatre-making based on collective ownership, in contrast to prevailing hierarchical collaborative practice, where artistic vision lies mainly with the director, and divisions of labour dominate. I conducted the experiment in the real world of rehearsals and performances with a theatre collective I established for this purpose. In this article I discuss my Marxist framework, justifying why I believe capital and cooperation to be the primary dialectic of cultural economy, at the root of the hegemony of hierarchical collaborative theatre. I identify the relationship between Marxist theory and Alain Badiou’s (2005) disruption of the status quo via ‘truth’, as well as and Baz Kershaw’s (2011) essential components for PAR, premised on dialectical paradoxes. I discuss Dialectical Collaborative Theatre (DCT), the original research, rehearsal and performance pedagogy I developed in response to prevailing collaborative practice. While ideology and ethics are integral to DCT, the focus of this article is the pedagogy born out of the dialectical interplay between praxis and truth. I am currently exploring the ideology of DCT in another forthcoming and parallel article, "Dialectical Collaborative Theatre: Ideology, Ethics and the Practice of Equality."