mia susan amir
— WRITER, CREATOR, PERFORMER, CO-PRODUCER
mia susan amir works at the intersection of creative and community practice as an educator, cultural organizer, writer, director, dramaturg and theatre artist creating immersive, interdisciplinary works. Born in Israel/Occupied Palestine, mia lives on the unceded and occupied territories of the x?m?θkw?y??m (Musqueam), Skwxwu?7mesh (Squamish), and S?l?i?lw?ta?/Selilwitulh (Tsleil-Waututh) Nations.
In her creative practice, mia traces the ways in which sociopolitical events are manifest intergenerationally in the spaces of the home and the body; the narrative hauntings that emerge when our stories go untold; what she calls Dybbuk Consciousness. Her practice, hybrid in form, engages juxtaposition as a critical strategy to bring breath to the unnamed, or ineffable.
Recent/current solo and collaborative performance works include: Across the Salty Waters, presented at 2017 Feminist Art Conference, Toronto. Transmissions: Bodies/Echoes/Ash which toured the Midwest US, and Vancouver 2015/16; and Obscura Lucida: The Land of My Body, co-created with T ’uy’tanat-Cease Wyss as a commission for the 2017 Vines Arts Festival. mia is a featured poet of the 2018 Art Song Lab, collaborating with composer Patrick McGraw.
Current/recent production credits include: Dramaturg on Burqa Boutique, by Brishkay Ahmed; Collaborating Director and Dramaturg on Setting Bones, by Kalik, winner of the 2017 Vancouver Fringe New Play Prize; Director and Dramaturg of Saving Mother, by Crystal Smith, commissioned for the 2017 Vines Arts Festival; Dramaturg on Wyspa, by Kannon Hewitt and Julia Siedlanowska, presented at the 2017 Vancouver Fringe; and her work as Artist Mentor of The Only Animal’s 2016 Generation Hot program.
mia is the Creative Director of The Story We Be, a Dramaturg with the Virago Play Series, and a Dramaturgy Research Associate with PTC. A recipient of the Literary Managers and Dramaturgs of the Americas, 2018 Bly Creative Fellowship, her current research explores the intersections between Crip and Indigenous Dramaturgical Practices in the studio, on the stage, and in the street.
mia’s writing has appeared on SpiderWebShow, Lemon Hound, Digging Through the Fat, and in Sustenance: An Anthology of Writers from B.C. and Beyond on the Subject of Food, Anvil Press. She holds an MFA in Creative Nonfiction from Mills College, Traditional Ohlone Territory, Oakland.
— CO-PRODUCING STAGE MANAGER
Heather Barr is thrilled to be the co-producing stage manager for Geologic Formations. She is a recent graduate of Studio 58, and the recipient of the David Pritchard Scholarship for outstanding
achievement in stage management. Heather’s recent stage management credits include The Skin of Our Teeth (Studio 58), As You Like It (Studio 58) and Solo Shows: Fall 2017 (Studio 58). Heather is also an emerging playwright and passionate collective collaborator. Her play Chimera, which she co-wrote, received its first full production as a part of Studio 58’s FourPlay One Act Play Festival. She also recently wrote and performed her solo puppet show, Ava, in Studio 58’s Spring 2018 Solo Shows. Her upcoming credits include: The frank Theatre’s Camera Obscura (ASM) and Gotta Sing Gotta Dance’s Bach to the Future (Set Designer,Builder, SM).
maría Escolán nuila
María Escolán Nuila is an emerging artist studying Theatre Performance at SFU’s School for Contemporary Arts. Born and raised in El Salvador, she also calls Vancouver home and values grappling with the question of being a settler on the unceded traditional territories of the Coast Salish peoples of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səl̓ílwətaɬ (Tsleil-Waututh) Nations. As an artist and community worker, she seeks to create spaces where systems of dominance, control, and certainty are brought into question through the playful curious body.
ALEX LAZARIDIS FERGUSON
— SCENOGRAPHIC DESIGN
Alex’s main focus as a performance-maker is on scenographic devising. As co-AD of the internationally acclaimed Fight With a Stick Performance, he makes immersive work with a focus on non-human materials. Alex is a veteran of the Vancouver theatre and dance scenes and has won several awards for acting and directing. He is also editor of talkperformance.org.
Sarah Ferguson is a queer theatre artist striving to create extraordinary and inclusive work. She holds both a diploma in Theatre Performance from Mount Royal University, and a BFA in Theatre from Simon Fraser University. She is an active company member of Sour Dog Theatre which was founded in Calgary, Alberta. Her Sour Dog credits include Dog Sees God, 7 Stories, and Queenpins of Ponoka. Her most recent credits include Shakespeare’s Romeo & Juliet (SFU), and Ladies Voices by Gertrude Stein (SFU). Sarah hopes to share her lived experiences and passion for truthful storytelling, while maintaining safe spaces for emerging artists to explore and collaborate together.
— COLLABORATING DIRECTOR
Julie Hammond is an artist working across performance, pedagogy, and intervention. As a director, performer, writer, dramaturg, and instigator of public projects, her practice activates spaces with the performative, and investigates the relationship between performance and audience, spectator and place, site and story. Her work has been published in print magazines, seen on stages, hung in galleries, shared on the street, and supported by Vancouver New Music, ArtStarts Gallery, Vancouver Park Board, On the Boards, Vancouver Foundation, and Oregon Arts Commission, among others. She is a 2018 Community Artist in Residence with the City of Vancouver and is engaged in a year-long collaboration with artist Matthew Ariaratnam and residents of South Vancouver to explore how the spaces between public sites shape us as individuals and as a community. In July 2018 her project Other Inland Empires will tour to San Francisco, CA. She holds a MFA in Interdisciplinary Practice from Simon Fraser University. juliehammond.net
Originally from Tehran and based in Vancouver, Arash Khakpour is privileged to be a dance artist who has immigrated to the ancestral and unceded Coast Salish territory including the Musqueam, Squamish and Tsleil-Waututh nations.
Arash’s desire is to see whether the theatre can be a place to interrogate the body and to investigate the alternate ways of being – how can one just be a body? He is interested in dance as a way to research human nature and human conditions through historical, social, political and existential interpretations.
Arash is the cofounder of the dance-theatre company The Biting School (alongside his brother Aryo Khakpour), the cofounder of Vancouver’s performance group Pressed Paradise and the founder and co-host of How About A Time Machine a podcast on the history of Canadian performance. Arash is grateful to be the 2017 recipient of Dance Victoria’s Chrystal Dance Prize'.
— MARKETING,PROMOTIONS & OUTREACH CO-PRODUCER
Danielle is a Theatre Director, Performer, Producer and Arts Administrator based in Vancouver, Unceded Coast Salish territories. Danielle is a graduate of Simon Fraser University with a BFA in Theatre Performance and Psychology. She has trained with the founder of the Viewpoints technique, Mary Overlie and with Peter Jorgensen in Musical Theatre Solo Performance. Danielle is the Founder/Artistic Director of Lutalica Theatre, the Artistic Producing Apprentice for Alley Theatre and previously was a Producing Intern with Theatre Replacement. She works through mediums of collaborative creation of scripted or devised texts, musical theatre and puppetry. Her directing credits include Grounded by George Brant (Lutalica Theatre), Constellations by Nick Payne (SFU) and assistant directed Three Stories Up by Mack Gordon (Alley Theatre), which was nominated for The Georgia Straight Critics' Choice Innovation Award. As a performer, Danielle was recently in Wonders of the Ancient World (Popcorn Galaxies) and Elk Walk (Popcorn Galaxies).
Lissa is happy to be part of Geologic Formations, her first foray into devised work in a professional setting. As an actor, her select stage credits include The Nether (RedCurrant Collective), Fists (rEvolver Festival), Dogfight (Semper Fi Collective), The Effect of Gamma Rays on Man-in- the-Moon Marigolds (RedCurrant Collective), Meat Loaf Jesus (Vancouver Fringe Festival), and Homecoming (Urban Ink). Television credits include Motive, Shut Eye, When We Rise, Minority Report, and Lucifer. Lissa is a graduate of Studio 58.
— LIGHTING/PROJECTION DESIGNER
Daniel O’Shea makes theatre, designs projections, and creates films, using technology and design as a keystone to support narrative and deepen dramaturgy. In PKD Workshow (2013) and Are we not drawn onward to new era (2018), Daniel employed a low-fi DYI aesthetic, making circuits by weaving wires and exposing the guts of the machinery as a metaphorical parallel to the convoluting ideas of existential discourses. Currently his work focuses on states of presence, unbalancing audienceship and novel constructions of light through design and new media.
Presented by Performance Studies international (PSi), Festival Of Recorded Movement, Shooting Gallery and SHIFT 1-Act Festival, Daniel’s work has been seen in Canada and internationally. As a founding member of A Wake Of Vultures, Daniel represented the collective at P-Body Festival (2016) in Leipzig, performing ...wreckage upon wreckage…
— PERFORMER, CO-PRODUCER
Mischa Shadloo is a recent graduate of Simon Fraser University's Theatre Performance Program, it was here she learned some things. Her recent credits include "these violent delights" which premiered at the 2017 SummerWorks Performance Festival. She also recently played Dr. Petar Hincz in THEATRE CORPS' debut work "Foot Faults in Foreplay". She strives to create extraordinary theatre that can grapple with the hard things, while also maintaining a reverence for comedy and joy.
— RESEARCH COLLABORATOR
Julia was born and is currently living as a theatre maker on unceded Coast Salish Territories. As a performer she has worked with companies such as Pacific Theatre, the Arts Club, the Firehall Arts Centre, the Cultch, Rumble Theatre (48-Hour Crockpot) and Classic Chic Productions. She has also directed/assistant directed for The Only Animal, Pacific Theatre, Classic Chic Productions, The King Matt Theatre, and other independent productions. Julia is the volunteer coordinator for the Talking Stick Festival, was a Young Ambassador for the PuSh International Performing Arts Festival, and community liaison for MACHiNENOISY Dance Society’s PROX:IMITY RE:MIX, a multi-media dance project for queer youth. In 2017, she participated in Talking Treaties with Jumblies Theatre in Toronto, deepening her passion for community engaged arts. She is currently working with Vancouver Moving Theatre and will be assisting Rosemary Georgeson with community engagement on the Wearing Reconciliation Our Way tour. www.juliasiedlanowska.com
— SOUND DESIGNER
Nancy Tam is a composer / sound-artist / performance artist / songwriter whose work includes musical composition, multichannel sound installation for live and fixed media, audio walks, and sound design for theatre, dance, and interdisciplinary work. In 2016, Nancy launched Playback, an audiowalk with 5 synchronized interactive unique parts at Canadian Music Centre’s national centre in Toronto. Nancy’s work has been presented by: Aarhus Unge Tonekunstnere (Aarhus, DK), Performance Studies international (PSi) (Cardiff, UK), Arraymusic, Soundstream Canada, OpenEars International Sound and Music Festival, NUMUS: New Music Now, Nextfest, and PuSh Festival (Canada), and more. She is an active and founding member of the Toronto based Toy Piano Composers composer collective, and the Vancouver based performance collective A Wake of Vultures. Nancy holds a BMus from Wilfrid Laurier University, and a MFA from Simon Fraser University.
— SET DESIGNER
Leah Weinstein is a Vancouver-based artist whose practice investigates connections between material culture and the social ideals of a larger collective. Using everyday objects and materials to create sculpture, textiles and performance, Weinstein examines relationships between individuals and collectives, subjects and objects, action and display. Her work has been supported by the BC Arts Council (2016); Vancouver Board of Parks and Recreation (2015-16); the Banff Centre, Banff AB (2015); Touchstones Nelson Museum of Art and History, Nelson BC (2015-16); Charles H Scott Gallery, Vancouver (2014); and City of Richmond Public Art Commissions (2013). Her professional experience includes designing costumes for contemporary theatre and dance companies, and she completed a Masters in Applied Arts (Visual Art) from Emily Carr University of Art + Design in 2014.
Veronique is a dramaturg and playwright with a passion for theatre that asks vital social, political and cultural questions. She's an Associate at Playwrights Theatre Centre, the Literary Assistant at the Arts Club Theatre Company and the Artistic Associate at Alley Theatre. She lives and works in Vancouver, on unceded Coast Salish territories. Her dramaturgy credits include: Disgraced (Arts Club), Angels in America: Millennium Approaches & Perestroika (Arts Club) and The Ridiculous Darkness (Alley Theatre). Her plays include: Intrusion (winner of Tarragon Theatre’s 20/20 Playwriting Competition), Marrow (Resounding Scream Theatre/Alley Theatre) and State of War (in development with Playwrights Theatre Centre). Marrow recently toured to the Gabriola Theatre Festival and will be presented by the Port Theatre. Veronique is also a pen pal for the PGC’s CASA Project (which cultivates meaningful connections between Canadian and South African women playwrights).