Originally from British Columbia, Thea Patterson is a choreographer, performer, and dramaturg based in Tiohtià:ke/Mooniyang/Montréal. Her practice revolves around questions of the body, objects, perception, vitality, and time. Early works include A Soft Place to Fall (2006) and Rhyming Couplets (2008). From 2007 to 2015 she was dramaturg and co-artistic director with Peter Trosztmer on seven acclaimed works, including Eesti: Myths and Machines (2011) and #Boxtape (2014). She has provided dramaturgy for many independent choreographers, including Nathan Yaffe, Andrew Turner, Lois Brown, Sasha Kleinplatz, and Susanna Hood. She completed a research-creation master’s at DAS Choreography in Amsterdam (2016). Recent works include Silvering (2020), presented at Mile Zero Dance, and Un-nevering, presented at Festival TransAmériques and Espace Libre in 2025. She has ongoing collaborations in Montréal, Portugal, Edmonton, and Newfoundland.

A 1998 graduate of Les Ateliers de danse moderne de Montréal (now EDCM), Elinor Fueter has taken part in a wide range of dance projects, as well as creations in street theatre, film, and improvisation. She has performed in works produced by Danse-Cité and by numerous choreographers, including Lina Cruz, Jean-Pierre Perreault, Marie-Pascal Bélanger, Catherine Lipscombe, Nathalie Morin, Chantie Wadge, Thea Patterson, Alain Francoeur, Peter James, and the company Mobile Home. Elinor has been a long time member of the Montréal Danse core team, where recently, she has appeared onstage in works by Sarah Wendt and Pascal Dufaux, Benoît Lachambre, George Stamos, Caroline Laurent-Beaucage, and Karine Ledoyen.

In her life and in her dancing, Rachel Harris listens closely for the energetic vitality that lives within and around us. Originally from British Columbia, she moved to Montréal in 1990 to continue her training at LADMMI (now L’École de danse contemporaine de Montréal). Over a 29-year career, both as a freelancer and with MontréalDanse, she has worked with more than thirty choreographers on over forty works spanning a wide range of creative worlds. These projects have taken her on tour and into artistic collaborations around the world. Rachel also performs regularly on her great-grandparents’ farm in BC. In 2002–2003 she created The Coyote Project, a work for four performers, in close collaboration with the Nlaka’pamux Nation. Since 2010 she has taught dance in women’s shelters through the Dance Against Violence program. Her most recent creative projects are All in All (Boreal Castles) with Benoît Lachambre and Invisible with Aurélie Pedron.

Peter Trosztmer is a creator, performer, and coach committed to work that is sensitive, deeply researched, and physically realized. Many of his early and most formative creations grew out of his collaboration with dance artist Thea Patterson; between 2004 and 2014, the two researched and brought to production most of his works. Jeremy Gordaneer and Lois Brown were also part of his close creative team for many years, strongly shaping and influencing his work. His most notable contemporary influences include Kate Ward, Audrée Juteau, and Sonya Stefan. His roughly ten years with the company MontréalDanse also played a major role in his development as both an artist and a performer. Peter has been fortunate to enjoy a rich and varied career, with the privilege of working with, and sometimes creating alongside, more remarkable artists than can be named here. He is currently working with Virginie Brunelle and Les Sœurs Schmutt.

Lois Brown is an established multidisciplinary artist working mainly in theatre, dance, and film, with a continued commitment to research and skill development. She focused on long-form improvisation during her studies at the University of Alberta. She often works as a choreographer or dramaturg on others’ projects, including Thea Patterson’s Silvering and Candice Pike’s 21 Poems. She wrote and directed the acclaimed When the Angel of Death says? How are you…, staged in a hospital, and directed Andy Jones’ An Evening with Uncle Val. She also wrote Heartless Disappearance into Labrador Seas, an official selection at several film festivals, and wrote and directed the feature The Bingo Robbers. A 2008 accident, in which she was struck by a vehicle, led Brown toward entirely new approaches and subject matter, seen in I Am a Genius: does anyone here know me? and her newest piece, Everything has a Hole, with composer James O’Callaghan.

Ellen Furey is a Tiohtiá:ke/Montreal based choreographer working in experimental and contemporary dance. Since 2012, she has primarily participated in discursive and collaborative processes emphasizing the messiness of subjectivities. Her work solicits the potentials of dance virtuosity and sense of spectacle as materials to create liveliness, oblique rebellions and debates – always interwoven with a strong dose of ambiguity. She has had the opportunity to work with, for and alongside artists such as Malik Nashad Sharpe, Dana Michel, Christopher Willes, Dancemakers, Audrée Juteau, N. Zoey Gauld, Catherine Lavoie-Marcus, Paul Chambers, Andrew Tay, Stephen Thompson, Simon Portigal, Hanako Hoshimi-Caines, Alanna Stuart, Romy Lightman, and has danced in works by Daniel Léveillé, Frédérick Gravel, Marten Spangberg (Sweden), Tina Tarpgaard (Denmark), Sasha Kleinplatz and Clara Furey. From 2019 to 2022, she served as artistic advisor/co-curator at Danse-Cité. In 2023, she was the artist in residence at Cape Breton University.

Born and raised in Montreal, David Drury is a composer and sound designer for film, theater, dance, installation, web and most other mediums that are married to sound. David earned a Bachelor’s degree in Electroacoustic composition from Concordia University as well as a Master’s degree in Sonic Arts from SARC (Queen’s University, Belfast). Since 2005, his collaborators and clients have included Place des Arts, HP, L’Oreal, Musée Pointe à Callieres, Aldo, the History Chanel and the NFB among many others. He has created several international performances of his scores for dance and theatre including: Marie Brassard, Wajdi Mouad, Mark Morgenstern, Pascal Brouard, Nicholas Fonseca, Dana Michel, and Chantal Dumas.

From 2008 to 2013, Paul Chambers was the technical director of Tangente, and taught at Studio 303, at the National Theatre School of Canada, and at Concordia University. His investigations have led him to question our perceptions of light, colour, and space His most recent work includes collaborations with Public Recordings, k.g. Guttman, 10 Gates Dancing, Dorian Nuskind-Oder [Delicate Beast], Ben Kamino, Katie Ward, Maria Kefirova, Thierry Huard, Parts+Labour_Danse, Destins Croisés, Peter Trosztmer, and the Montréal Complètement Cirque festival. In 2022 he was awarded the Prix de la Danse in lighting design.

Montreal-based performer, maker and teacher in both dance and music, Susanna Hood has devoted her career to synthesizing voice and movement within her dynamic practice, creating intimate, sensual and raw performances both in dance-theatre contexts as well as in the context of improvised music. Particularly in the last decade, she has sought a total integration of the dance and music aspects of her practice, influenced by her internal, holistic experience of moving, sounding, and listening. Something she refers to as embodied music: the experience of movement as music and of sound/music as movement, where the two forms, in dialogue, remain simultaneously distinct and interchangeable, to create a listener/viewer experience that blurs the lines between what is heard and what is seen. Her most recent creations (Music Is…, 2016, and Impossibly Happy, 2019) have been driven by her own musical compositions arranging voices, instruments and movement.

Jeremy Gordaneer (1972-2021) was a painter, scenic artist, designer, and performer. Born in Ontario and raised in Victoria, BC, he was the son of Canadian painter James Gordaneer, RCA, and grew up surrounded by art. He studied fine arts at Camosun College and theatre at the University of Victoria. For a decade he belonged to the Chapman Group in Victoria, a collective of artists and writers who met weekly to study art, philosophy, physics, and theology, and to rigorously critique each other’s work. He was a core member of the creative team behind the works of Thea Patterson and Peter Trosztmer, as performer, set designer, and visual designer on Synthesis as Composure I and II, Eesti: Myths and Machines, 5 out of 6 Machines, and #Boxtape. His singular aesthetic shaped that body of work. Alongside his painting, sculpture, and drawing, he worked widely as a scenic artist and designer for theatre and dance.