Erin Brubacher is a multidisciplinary artist, director and social orchestrator. She works with people. Mostly through strategies of performance, photography and theatre. She is committed to collaboration, and creating considered environments of care in process and product.
Current projects include: Kiinalik: These Sharp Tools, created by Evalyn Parry, Laakkuluk Williamson Bathory, Elysha Poirer and Brubacher (Buddies in Bad Times Theatre); 7th Cousins a performance project involving a 700km walk created by Brubacher and Christine Brubaker (7th Cousins/Nightwood Theatre); and Noor by Erum Khan with original music by LAL and Anwar Khurshid (Generous Friend/ Aga Khan Museum). Other recent projects include: Concord Floral (Brubacher/Spooner/Tannahill) at The Push International Performance Festival in 2017 and at The National Arts Centre, Canadian Stage and Magnetic North in 2016; Vocabulary, a performance experiment on synthetic biology (Banff Playwrights Colony 2015/16); designing web installations, in conversation with Carmen Aguirre’s Broken Tailbone and Quirt/Julien's Why We Are Here for Nightswimming Theatre and Private Commute, a featured exhibition at the CONTACT Photography Festival (2012). Brubacher makes photographs in and of performance practices such as Ame Henderson's rehearsal/performance at the Art Gallery of Ontario, and her series This is my room. Look. has accompanied every production of Concord Floral - the series includes portraits of over 40 teenagers in their bedrooms in cities across Canada.
From 2014-2016, Brubacher worked with Jordan Tannahill to run the performance company Suburban Beast. Together they first produced Concord Floral, written by Tannahill and developed over a three year process with, a cast of ten Toronto teenagers, Brubacher and collaborator Cara Spooner. (The World Premier was a Suburban Beast production, presented by Why Not Theatre at The Theatre Centre in 2014 and the piece has since been remade/mounted under the direction of Brubacher and Spooner, with new casts, in Vancouver, Ottawa and Toronto.) Tannahill and Brubacher also mounted All Our Happy Days Are Stupid by Sheila Heti: first for audiences of 35 people at Videofag and subsequently for houses of 350 people at Harbourfront Centre's World Stage in Toronto. In February of 2015, they brought the production to The Kitchen in NYC.
Brubacher has developed creative programming for organizations such as the Arches, Glasgow and Tarragon Theatre in Toronto; has curated work and hosted events for festivals and sites across Canada and Europe; and is an internationally established educator, having designed and facilitated artistic learning experiences in contexts including secondary schools, universities, conservatories, theatres, galleries and non-institutional environments.
Brubacher holds a BA in Fine Arts from Mount Allison University; a BEd from Memorial University of Newfoundland; and a practiced-based M.A., with distinction, in International Performance Research jointly from the University of Warwick and University of Amsterdam. In 2016 her first book of poetry, In the small hours, was published by Gaspereau Press.
She has lived in ten cities; her peripatetic practice is now based in Toronto.
photo by Phillipa Croft