Liz Peterson lives between Tkaronto / Toronto and Melipilla, Chile. Born in Manchester, UK she grew up predominantly in St. John’s, Newfoundland, Concepción, Chile, and Burgess Hill, UK. She is of English, Burmese and Indian descent. Liz’s interdisciplinary performance work explores narrative and cultural belonging through embodied improvisatory practices.
Liz established Events in Real Time with Sean O’Neill, with their performance work, Express Yourself (2010) and she continues to produce cross-disciplinary work under that moniker in Canada and elsewhere. Liz first worked with Public Recordings on what we are saying (2013) on the invitation to devise a score for the guest performers, and subsequently helped to conceive the group work CAPITALIST DUETS (2015). Liz became an Associate Artist with Public Recordings in 2017. She is currently developing Borders (sin título), a new co-creation with Barcelona-based choreographer Marina Colomina, that examines intersections of identity and contemporary structures of power through the device of a classical Greek chorus from Aristophanes’ comedy, The Clouds. Liz is a graduate of the University of Toronto’s University College Drama Program, and occasionally appears as an actor in theatre.
Evan Webber is from Ottawa. His work often examines connections between stories and institutions, political formations and cultural expression. Considering the performativity of writing and reading brought Evan into collaboration with Public Recordings on Open Field Study (all together now) (2007) and then by developing the co-creation performance encyclopaedia (2013) with Ame Henderson. He has worked with the company since then and became an Associate Artist in 2015.
Evan’s independent projects about Sophocles’ political theatre–Little Iliad (2010) and Ajax (2012), co-created with Frank Cox O’Connell, and Antigone Dead People (2014), a collaboration with Jacob Zimmer and Osaka-based experimental theatre company Dracom–have been presented in Canada and internationally. Evan works as a dramaturg and facilitator and from 2015-2017 he organized and curated the HATCH performance residency series at Toronto’s Harbourfront Centre. Evan’s writing about art and other experience has been published online and in print with C Magazine, Geist, The Coming Envelope, Canadian Theatre Review, and elsewhere. He is a graduate of the National Theatre School of Canada.
Christopher Willes, based in Tkaronto / Toronto, explores the material traces, genealogies, and experiential possibilities of music, sound and listening. His projects often rework the conventions of concert making through disciplines and subjects outside of music, including performance, exhibition, publication, and experimental forms of pedagogy. Christopher first collaborated with Public Recordings on rehearsal/performance (2014).
Christopher’s practice includes creating large scale concert works, sound-based performances, exhibitions, publications, facilitating workshops, critical writing, and curation. For the past decade he has worked independently in dance as a sound-maker and dramaturge, including numerous works with Dancemakers between 2011-2015. He is currently developing a site-specific performance with Public Recordings, staging the 1970 orchestral work by Pauline Oliveros entitled To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation. Christopher studied music at the University of Toronto, and received an MFA from Bard College, USA. In 2016 he was MacDowell Colony Fellow and a recipient of a Chalmers Arts Fellowship.