Brokentalkers are an internationally renowned theatre company, based in Dublin, Ireland and led by Co-Founders and Artistic Directors Feidlim Cannon and Gary Keegan, along with Creative Producer Rachel Bergin. 

Described as ‘one of Ireland’s most fearless and path-breaking theatre companies’ Brokentalkers make formally ambitious work that defies categorization. They devise original, accessible live performance and explore new forms that challenge traditional ideologies of text-based theatre.

https://brokentalkers.ie/

Following her studies at the Performing Arts Research and Training Studios in Brussels (P.A.R.T.S) under the direction of Anne Teresa De Keersmaeker, Erna Ómarsdóttir worked with choreographers such as Sidi Larbi Cherkaoui, Jan Fabre, Damien Jalet, and Les Ballets C de la B. As a choreographer she has since collaborated with artists such as Björk, Matthew Barney, Ben Frost, Gabríela Fridriksdottir, Jóhann Jóhannsson, Ragnar Kjartansson, Jonas Åkerlund, Duran Duran and Sigur Rós.

Ómarsdottir is a six-time winner of Gríman, the Icelandic theatre award for dance, and in 2019 she was nominated for the prestigious German theatre prize Der Faust for her version of ‘Romeo and Juliet’, created together with choreographer Halla Ólafsdottir for the Gärtnerplatzteater in Munich in 2018.

During her extensive carreer as an independent artist, choreographer and artistic director of Iceland Dance Company, Erna Ómarsdottir has created and directed a multitude of highly acclaimed works that have been presented in festivals and venues around Europe.

https://www.shalala.is/

Kriðpleir's projects for stage and radio attempt to explore ideas about people’s personality and theatrical representation . The group’s material usually derives from the member’s everyday life. The projects should be understood as a possible response to man's chaotic interpretation of reality and the indefinite search for "realism" on stage. The dramaturgy of the works can be described as a row of detours, where dramatic rules or traditions are persistently worked against each other and the characters will evade conflict as much as they can. Kriðpleir's working methods are also intertwined with the daily lives of the group's members. The work is written, staged and rehearsed based on organised chaos; the script, which gradually emerges, being a kind of result of the words and actions that finally end up on stage. Thus unsettled ideas and thoughts, chaotic meetings, conversations over a cup of coffee or by the vending machine become source material and a conceptual core of the work on stage.

https://www.facebook.com/kridpleir

Ibrahim Fazlic is a Norwegian playwright, director and actor . His work circles otherness and exclusion, held in ambivalence and grounded in a radical idea of mutual care. Interactive and immersive, his pieces dissolve the line between stage and audience until each performance becomes a temporary society its participants inhabit together.

Each of his works tests a different way of meeting an audience. prty lyf (2018), his “breakthrough”, staged a Western "right to suffering" through the dramaturgy of a party.. En Muslimsk Afro-Joik på Svensk i Norge (2019) met the question of racism head-on in a deliberately burlesque, caricatured register. The Tingly Room (2021) was a stage-text art installation for Kunsthall Trondheim's international exhibition Sex Ecologies. In Mamma Masochist (2022, Black Box teater), Fazlic — a childless cis man — became the audience's mother to prod at the dominant, suffering myths of motherhood. TORVALD (2024) is a masculine mancave monologue from a white, cis, heterosexual, middle-aged man in midlife crisis - taking the abandoned husband of Ibsen's A Doll's House and placing him in the present. 

Fazlic trained at Nord University, and his work has been presented at Rosendal Teater, Black Box teater, Grenland Friteater, Festspillene i Nord-Norge, Tou Scene, Bergen Dramatikkfestival, Arendalsuka, Vårscenefest, Turteatern in Stockholm and the Festival d'Avignon — the last in 2023, with a French translation of TORVALD he was awarded the international Ibsen Scope scholarship to develop. He was house dramatist at Dramatikkens hus from 2019 to 2023 and has received Arts Council Norway's work grants for playwrights (2021, 2023) and for actors (2024–2026); two of his texts have been translated and presented at the Maison Antoine Vitez in Paris.

Alongside his own projects he works as a performer, dramaturg and playwright with other artists. He has sat on professional panels for Arts Council Norway, FFLB, Markedet for scenekunst and the Norsk DramatikkFestival, and on the boards of the organisation Salam and, Vega Scene. From 2026 he holds Arts Council Norway's five-year artistic-practice grant (Kunstnerskapsstøtte) — the support behind his current work, Requiem, a twelve-hour immersive "requiem for humanity"

The performance making group Kviss búmm bang was founded in 2009. The founding members are Eva Björg Kaaber, Evar Rún Snorradóttir og Vilborg Ólafsdóttir. They have a background in performance making, gender studies, foreign affairs and nursing.

Kviss búmm bang's works are progressive performance art works with an emphasis on the inner experience of the audience. The works often involve participants who followed a script in an artificial situation, often over a long period of time.

Their first work Norm Olympics premiered at the Art fart festival in 2009 and then at the LÓKAL international theatre festival the same year. The work was invited to the Wiener Festwochen in 2011. In the following years, Kviss búmm bang showed their work at various performing arts festivals in Europe. They produced works for the Riga European Capital of Culture 2014 and participated in the international network of performing artists Global City - Local City on behalf of the Baltic Circle festival in Helsinki. At home, the group has created works for the Radio Theatre, Akureyri Theatre Company, Reykjavík Arts Festival and the City Theatre. During their career, the group has also created documentary theatre such as Downtown 24/7 (2012), a work about the experiences of women who had been in prostitution, worked in collaboration with them through Stígamót, and Horfin heimili (2017), about the experiences of people who have lost their homes due to various circumstances.

Kviss búmm bang's works have always had a documentary theme, where people appear as themselves, such as Þorgrímur Þráinsson in Eðlileikunim, people struggling with mental illness in Hotel Keflavík, as well as residents of Hotel Keflavík who received a visit from the participants in the work.

Kviss búmm bang's later works have been more in the spirit of community events, with less emphasis on participation and individual experience. Such as the Gala Celebration of Minorities produced by the Mladi Levi festival in Ljubljana and the Baltic Circle festival in Helsinki. There, the audience was invited to a party where various minority groups were celebrated, such as Honda car owners, People who do not have a passport, People who have survived sexual violence, and the Society of Happy People. In recent years, the members of Kviss búmm bang have been focusing on other things. Eva Björk is a psychiatric nurse, Eva Rún is a writer and producer of documentary works and Vilborg a foreign affairs specialists.

Currently they are working on a new project about heterosexuality. More news of that soon.

MAIKO YAMAMOTO is a Vancouver-based artist who creates original, experimental and intercultural works of performance, including theatre projects, public art works and performance installations. As Co-Founder and Artistic Director of Theatre Replacement she has created over 25 new works and toured them to festivals and venues around the world. Her performances draw upon her love of formal inventiveness and exploration, conceptual play, creative research, artist-centred processes and multidisciplinary practice. Maiko also mentors artists and teaches performance for a diverse range of institutions and organizations, both in Canada and abroad.

THEATRE REPLACEMENT is a Vancouver-based company dedicated to creating original, experimental and intercultural works of performance. Since its beginnings, the company has held fast to an ethos of co-existence — a value that continues to shape everything we do. With an incredible roster of associate and resident artists, as well as ongoing and new collaborators, each project emerges through long-term creation processes that foreground a diversity of identities, perspectives and artistic practices. Our performances often question the relationship between audience and performer, engaging with larger social and cultural curiosities that resonate in the contemporary world. Alongside making work, the company shares our practices through mentorships, residencies and professional development opportunities that empower emerging and established artists alike. Through international partnerships and activities focused on cultural exchange, Theatre Replacement continues to build connections globally, fostering dialogue and possibility in bold, experimental performance.

theatrereplacement.org