Cesc Gelabert

Gelabert is one of the most influential Spanish choreographers and dancers of the moment. An emblematic and highly versatile artist, he has made a notable contribution towards the creation of a dance culture in Spain.

Dancer choreographer and director. Cesc Gelabert was born in Barcelona (Catalonia, Spain). He began his studies in Architecture at University, which he almost completed, but decided to study dance when a girlfriend brought him into contact with Ana Maleras’s studio, where she was taking classes. Soon he was a part of Maleras’s group, studying jazz, ballet and other courses, while starting to experiment with his choreography. His dedication to football continued, and every weekend he would play as captain of his team.

Gelabert created his first choreography in 1972, while performing some evenings in cabaret, and continued taking jazz classes with visiting teachers. His favorite teacher being Matt Mattox, with whom he took classes in London.

In 1978 he decided to go to New York, and had first-hand contact with the New York dance scene. He decided to stay for two years. While flat sitting and working in the evenings, he started creating group works with postmodern dancers, and new solos for himself.

“My old corduroy suit” was presented at the Kitchen theatre, to good reception, enabling him to be an active member of the New York dance community.

In 1980 he began to collaborate with dancer Lydia Azzopardi, performing throughout Spain and festivals in France and Italy.

1985 Gelabert Azzopardi founded the company, presenting “Desfigurat”, their first dance production for a large stage. The company was firmly established and based in Barcelona.

1987 and 1988 two works were created; Requiem (Verdi) and Belmonte, the music was an original score composed by Carlos Santos, whom he had collaborated with in New York,. Sets and costumes were designed by the artist Frederic Amat.

Both works became emblematic pieces in the history of dance in Spain.

The Company toured extensively in Spain and major International Festivals in Latin America and Europe.

Cesc Gelabert developed an idiom closely in the association of a very personal style and a powerful presence as a soloist, performing internationally.

As the company expanded, the choreographic language acquired a homogenous style. The dancers were recruited from different backgrounds, with solid technical preparation. The vocabulary being pure dance form.

In conjunction with the company, Gelabert continued creating solos for himself, in collaboration with artists from all medias.

During the late eighties, while performing at Festival Aix en Provence, he met Nele Hertling, director of Hebbel Theater, Berlin. This was to be the beginning of a long and extensive relationship of the Company as co-residents with the Hebbel Theater, until 2003.

During this long period between Barcelona and Berlin, he met and discovered the work of German choreographer, Gerhard Bohner. There was a bonding, both being solo performers, and both having seen each other’s work. After Bohner’s death in 1992, Gelabert decided to take the task of learning Im Goldenen Schnitt I /II from Cosima Santorio’s video footage, and to perform the two solos.

Im Goldenen Schnitt I was soon being presented on international stages in major festivals, to successful acclaim. Undeniably, the result of this combination of Bohner’s choreography and Gelabert’s interpretation made the performance a singular and unforgettable experience. Im Goldenen Schnitt I is still being performed.

As a guest choreographer for Balletto di Toscana (1995) he made Hortensia ; followed by Lucrecia Stop (1996) for Tanzheater Komischer Oper, Berlin.

In 1999 he created his second piece Fountain of Love, for Balletto di Toscana.

In 2002 Charmes for Ballet Gulbenkian, Lisbon.

In 2003,a highlight experience as a choreographer was the making of the solo “In a Landscape” for Mikhail Baryshnikov.

Edinburgh Festival 2004, the Company received The Herald, Critic’s Award after their participation in the Festival. During this short residence, Gelabert made a short piece Arthur’s Feet, working with performers with learning disabilities. This was a new and inspiring experience for the company.

Gelabert has choreographed for cabaret; and with Azzopardi both have created for opera, video, theatre and film.

In recognition of Gelabert’s work as an artist, he has received numerous awards throughout his career as choreographer and dancer.

Current company production Orion, for eight/ten performers, including himself. Francisco López and Borja Ramos have composed the music in conjunction with the choreography.