PAU ARAN GIMENO
pauaran foto 01.jpg
 
 

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about

Pau was born in Barcelona, Spain, in 1981. He began his professional path to dance through ballroom dancing where he reached international competition level in ten different styles. This led him to study dance in Barcelona, and at the Royal Conservatory in Madrid where his interest began with the classical ballet form and developed towards an interest in contemporary dance and contact improvisation. Following his studies he continued to explore the form of dance in France and Germany before becoming a permanent performing member of Tanztheater Wuppertal Pina Bausch in 2005.

In addition to performing with Tanztheater Wuppertal Pina Bausch, Pau currently teaches, conducts workshops, and participates in various artistic projects in Germany and abroad. His goal is to further develop his own movement language which he has been nurturing the last years in Germany, and to continue to reflect upon the ideas, inspirations, and influences from his colleagues, artists, and the masters that cross his path.

 
 

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SHOWREEL

 
 
 

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path

2006-2018

TANZTHEATER WUPPERTAL - PINA BAUSCH, Wuppertal

2009-2018

GUEST TEACHER

Williams College, Williamstown · Shenandoah University, Winchester · Marymount College. New York City ·  Institut del Teatre de Barcelona · NOD, Torino · LDC, Ancona · Bambú Danza, Madrid · ESDM, Barcelona · FAI-AR,  Marseille · Certamen Coreográfico de Tetuán, Madrid · Independent venues in Montpellier, Chile, Argentina and Colombia

2017

‘UNA’ with MAITE JAUREGUI. Direction

‘ÉTUDE IV’ for Nina Barbé, Lyon. Direction

‘AUGUST, OSSAGE COUNTY’ with OMAR SANGARE, Williamstown.  Movement assistance

‘THIS BRIGHT FIELD’ by THEO CLINKARD, United Kingdom

2016

‘ÉTUDE III’ for Mara Ortiz, Buenos Aires. Direction

‘ESCORIAL EN DANZA’,  St. Lorenzo del Escorial. Guest teacher

‘MIMOSA’, St. Esteve de Palautordera. Direction

‘COREÓGRAFOS EN COMUNIDAD’, Conde Duque de Madrid. Direction

‘PRINCESS IVONA’, Williamstown. Movement assistance

2015

‘INICIACIÓN A LA SOMBRA’, Centre d’Arts Santa Mònica de Barcelona and Conde Duque de Madrid. Choreography

2014

‘ÉTUDE II’ for Lou Gulli, Paris. Direction

2013

‘AT 17 CENTIMETERS’ by JORGE PUERTA ARMENTA, Wuppertal

2011

'THE FIFTEEN EYES OF AXOMAMMA' [I Shall Become A Perfect Dead Woman], Jersey Opera House, Branchage Film Festival, Jersey, UK. Dancer

2005-2006

FOLKWANG UNIVERSITY FOR THE ARTS, Essen

2003-2005

REAL CONSERVATORIO PROFESIONAL DE DANZA, Madrid.

 ESTUDIO 3, Madrid

2004

EUROPA DANSE (JEUNES DANSEURS EUROPÉENS), France

2003

‘COTIDIANAS’ and ‘HAY UN DÍA EN QUE SE NACE’ by MORENO BERNARDI, Barcelona

2001-2003

COMPANY & COMPANY, Barcelona

1993-2003

ROGER'S CENTER, Barcelona

A LEVELS, Barcelona

2002

‘LA DAME DE PIQUE’, GRAN TEATRE DEL LICEU, Barcelona

 

 

ACKNOWLEDGEMENTS

Gonzalo Zaragoza, Ricardo Franco, Slavek Michalsky, Manel Rodríguez, Máximo Hita, Moreno Bernardi, Francesc Bravo, Cristiane Boullosa, Manel Estella, Teresa Llargués, Sergio Roccatti, Alessandra Valeri, Dominque Mercy, Malou Airaudo, Ernesta Corvino, Janet Panetta, Christine Kono, Ed Kortland.

 
 
 'At 17 cm', Jorge Puerta Armenta. Foto: Fido Camanchaca

'At 17 cm', Jorge Puerta Armenta. Foto: Fido Camanchaca

 
 
 

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WORKS

 

AT 17 CM

(Solo) Germany, 2013 · 35 minutes · Direction: Jorge Puerta Armenta · Dance: Pau Aran Gimeno · Light Design: Marco Wehrspann

Anorexio Fotoshoot's ©

It was a long and intermittent process born of the need to understand the loss of someone close. I didn't want to take that trip alone and asked Jorge for his support and guidance.

Among the chaos, dilemmas, and frustration, there was friendship, relief and fight. The search and the respect were our engines.

For me, this performance is a change of skin. Talk about what one is. Bring the past to the present time. Let go and cry. Scream. Bottoming to revive and assimilate what happened. I enter in my ghosts and I feel the danger. Death and absence are there. And I give myself to them to start over. From another place.

The play transforms. And then the smoke comes back, and the immanent force of its three-dimensionality. It continues to rain… It is not a dream. It is this reality. And that which I am looking at, as if through a door left ajar, is also happening to me, it happens to us all.
— Valentina Morales

Teaser 'At 17 cm'

 

 

TANZTHEATER WUPPERTAl - PINA BAUSCH

 

 'Le Sacre du Printemps', Pina Bausch. Foto: Jochen Viehoff

 
 
  • IPHIGENIE AUF TAURIS (Iphigenia In Tauris)
  • DAS FRÜHLINGSOPFER (The Rite Of Spring)
  • DIE SIEBEN TODSÜNDEN (The Seven Deadly Sins)
  • KOMM TANZ MIT MIR (Come Dance With Me)
  • CAFÉ MÜLLER
  • KONTAKTHOF
  • KEUSCHHEITSLEGENDE (Legend Of Chastity)
  • BANDONEON
  • NELKEN (Carnations)
  • AUF DEM GEBIRGE HAT MAN EIN · GESCHREI GEHÖRT (On The Mountain A Cry Was Heard)
  • TWO CIGARETTES IN THE DARK
  • VIKTOR
  • AHNEN
  • PALERMO PALERMO
  • NUR DU (Only You)
  • DER FENSTERPUTZER (The Window Washer)
  • MASURCA FOGO
  • WIESENLAND
  • ÁGUA
  • FÜR DIE KINDER VON GESTERN, HEUTE UND MORGEN (For The Children Of Yesterday, Today And Tomorrow)
  • NEFÉS
  • TEN CHI
  • VOLLMOND (Full Moon)
  • BAMBOO BLUES
  • '...COMO EL MUSGUITO EN LA PIEDRA, AY SI, SI, SI …' (Like Moss On A Stone)
 
 
Once, on my early days in Wuppertal, I was entangled with my things. She simply said to me: ‘...don’t worry, true love will arrive some day. Dance for love!’
— Pau Aran

'Bamboo Blues', Pina Bausch. Foto: Ulli Weiss

 

 

THIS BRIGHT FIELD

United Kingdom, 2017 · Part one 15 mins & Part two 45 mins · Concept, direction and design: Theo Clinkard · Artistic Collaboration: Leah Marojevic · Realisation and performance: Leah Marojevic, Stephanie McMann, Meri Pajunpää, Natalie Corne, Crystal Zillwood, Temitope Ajose-Cutting, Luke Divall, Mathieu Geffre, Nick Coutsier, Colas Lucot, Pau Aran Gimeno, Antonin Rioche · Sound composition and performance: James Keane · Lighting design: Guy Hoare · Costumes: Rike Zöllner

 

Chris Nash

 
 

Over the last five years, Brighton-based choreographer and designer, Theo Clinkard, has built a reputation for creating affecting and visually arresting work. A new work for his company conceived in two parts.
Part one takes the audience on stage in small groups for an intimate encounter with Clinkard’s exceptional company of twelve international dancers. Visible within a maze of constantly moving screens, tender exchanges between the performers help the audience to connect with the cast.

In Part two, Clinkard’s choreography takes to the full stage on a cinematic scale. Retaining vivid impressions of the first part, and with the familiarity of the individual dancers still in mind, the audience is back in the auditorium seats. Featuring striking lighting design, bold costumes and music performed live by James Keane, This Bright Field gradually builds in momentum to become a spectacle of visual and emotional power.

 

Trailer 'This Bright Field'

 
 

 

UNA

London, Madrid, Barcelona, 2018 · 60 mins · Performed by: Maite Jáuregui · Concept: Maite Jáuregui and Pau Aran Gimeno · Direction: Pau Aran Gimeno · Dramaturgy: Javier Pastor · Set design and Costumes: Ana Inés Jabares-Pita · Original music: Tom Sochas · Light design: Sergio Roca Saiz and Pau Aran Gimeno · Production: Núria Aguiló Sol

 

Xavi Oribe

The project questions the nature of denial as a central element. The interaction between people, life, death and the places we inhabit.

Interest towards the way performance questions space and the encounter between two different languages, practices and realities (Maite and Pau), are also main focuses of this project, expanding opportunities and possibilities.

'Una' is a theatrical project co-directed by Maite Jáuregui and Pau Aran Gimeno.

We will join a woman in her imaginary world to discover the facts that have determined its current, less dreamlike reality.
 

 

 
 

TRAILER 'UNA'

 

 

‘New Piece II’

Tanztheater Wuppertal - Pina Bausch

Creation by Alan Lucien Øyen · In coproduction with Théâtre de la Ville-Paris / Chaillot-Théâtre national de la Danse, Paris / Sadler’s Wells, London / Norwegian National Ballet, Oslo · Supported by Kunststiftung NRW · Direction / Choreography:
Alan Lucien Øyen · Set Design: Alex Eales · Costumes: Stine Sjøgren · Artistic Collaboration: Daniel Proietto / Andrew Wale · Sound Design: Gunnar Innvær · Light Design: Martin Flack · Rehearsal Direction: Daphnis Kokkinos · Assistant to Rehearsal Direction: Bénédicte Billiet · Costumes Assistence: Anna Lena Dresia · Duration 3h, one intermission


One of the two first comissions from Tanztheater Wuppertal - Pina Bausch under the new direction of Adolphe Binder.

 

Mats Bäcker

Alan Lucien Øyen is an award winning Norwegian choreographer, director and playwright working across and between, dance, theater, text and film.Always in pursuit of a sincere and human expression, with a subtle cinematic style, Øyen‘s works are driven by his real interactions with people and places. Creating large-scale productions that highlight the most intimate moments, Øyen strives to mirror the simplicity, beauty and complexity of human experience.

Dancers:
Regina Advento, Pau Aran Gimeno, Emma Barrowman, Rainer Behr, Andrey Berezin, Çağdaş Ermis, Jonathan Fredrickson, Nayoung Kim, Douglas Letheren, Eddie Martinez, Nazareth Panadero, Helena Pikon, Julie Shanahan, Stephanie Troyak, Aida Vainieri, Tsai-Chin Yu

We have been working on memories-communication. How do we hold on and let it go; deal with the ever changing time. When is the time to go? How long are we waiting for / have been waiting for? How lost is the past to us? How do we capture dreams?
— Alan Lucien Øyen

TRAILER 'NEW PIECE II'

 

 

other works

 
 
 

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LAB

Technique, creation and movement research with Pau Aran Gimeno

 

Beatrix Mexi Molnar Photography

Each body has its own language, unique and perfect. Our working tool must be continuously powerful and sensitive. With this in mind, we will work through play and pleasure, with exercises based on technique, composition, improvisation and body narrative. We will open the space to dialogue with ourselves and the others. We will connect with an authentic personal expression and we will improve the quality of movement. We will achieve an increase in the awareness of our limits, which will allow us to overcome them. The result of our work will help us have an open and autonomous mind, capable of adapting to a creative process.

I offer a space for the creative process to take place, for contact with oneself, sensitivity and expression, without pretentions or judgements, where everything is possible.
— Pau Aran

'LAB bits'

 
 
 
 

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CONTACT