Margrét Sara Guðjónsdóttir was born and raised in Iceland. She studied dance at the Artez University of Arts in Arnhem and Amsterdam. Along side working as a performer with various artists in Europe, Margrét Sara co-founded the production house Panic Productions in Iceland, with dancer and choreographer Sveinbjörg Þórhallsdóttir, which was active from 2004 – 2009, and focused on producing and initiating collaborative performance works with international artists.
Margrét Sara has toured internationally with her own work since 2010 and currently lives and works in Berlin. Displaying the politics of intimacy is a core theme within her choreographic work while working with and exploring pathologies of the social political body within our own bodies. Margrét Sara has collaborated with a consistent team of performers over the last five years and the soundscapes which accompany the works are exclusively created by and with Peter Rehberg (PITA),electronic composer and director of the record label Editions MEGO in Vienna.
In 2015 Margrét Sara became artist in residence at the Cullberg Ballet in Stockholm. Creating her second commissioned work for the Cullberg Ballet in 2017. She teaches periodically at the Icelandic Dance company, dance department of the Art University of Iceland, BA dance program at DOCH in Stockholm, MA department of choreography in the Theater Academy of the Art University of Helsinki, Dansalliansen Stockholm, Dansehallerne Copenhagen, Kiezkieken- program of dance workshops for refugee women in Berlin.
For the last 8 years Margrét Sara has focused her professional research on physical doorways into physiological and emotional sub worlds association with myofascial release and beyond. Through this research she began the process of mapping out a new category of performative body language, ways of developing it further, and transferring this knowledge to others. The working methods directly inform the theme of the artistic works, and extend beyond the limits of professionalism and performance making. The first 3 years of research were done privately between 2010-2012, whilst the performance works created during this period did not engage with this new physical language. The first artistic work created from this on going research where performers were included in the process was “Step Right To It” in 2013. Followed by the “Blind Spotting Performance Series”, in 2014, which was launched with the aim of continuing the research and creating working conditions which would make it possible for the group to dedicate a longer period of time to work in-depth on a specific artistic topic and develop the ambitious and detailed physiological language necessary to convey it.
A new cycle in this on going research began in 2015 and extended over a period of 2 years. Through this research a new branch within the Full Drop Into the Body practice opened up and the performance Conspiracy Ceremony-HYPERSONIC STATES was made and premiered in November 2017. In 2018, Pervasive Magnetic Stimuli, the first performance in a series of new works titled Suprasensuous Transmutations, was born.