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/

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/

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