Juan Miranda

Juan Miranda

DAS Theatre

JUAN MIRANDA (AR / SP - 1985) Theatre maker and researcher.

After he accomplished theatre studies in Buenos Aires, he obtains his Bachelor's degree in Theatre Directing and Dramaturgy at the Institut del Teatre in Barcelona. He is currently participating in the Master DAS Theatre with the support of a scholarship from the Bank Foundation 'La Caixa'.

His research is triggered by the pathos that lies behind images and how the cinematic universe can perform from the scene. What makes an image present? How can we define their materiality and immateriality from theatre? His artistic work generally looks for excessive and passionate performativity, leading to gestures of exhaustion. 

He has directed Mon fils marche juste un peu plus lentement by Ivor Martinic (La Manufacture des Abbesses, Paris 2020. Finalist Project of the Young Directors Contest of the Théâtre 13 de Paris, 2018) A girl is a half-formed thing by Eimear McBride (Tamayo Museum, Mexico City 2019) Sapucay (FIDCU, Montevideo Uruguay 2017, Sala Hiroshima 2016, FID 2015, Grec Festival, Fira Tàrrega and Temporada Alta 2015) Werner or the blue of the origins (Centre de Creació l’animal a l’esquena 2017, ACT Bilbao Festival 2017, FID 2015, Graner, Dansa Ara La Pedrera Festival 2014), Les Esqueiters in collaboration with Nao Albet and Marcel Borràs (TNT Terrassa 2017, Théâtre de l’Archipel, Perpignan 2017, Festival Grec 2015) Les altres mares d’en Kaspar Hauser by Felicia Zeller (Versus Teatre 2015), Boquitas Pintadas by Manuel Puig (Versus Teatre, 2014) Micrología Segunda (Museu d’Art Contemporani de Santa Monica, Antic Teatre, Pradillo Theater, L’Estruch 2013).

As a performer, he participated in the projects: Game Boy by choreographer Sylvain Huc (2016), Trossos by the company Obskené (2012), among others.

Since 2009 he co-directs the company Chroma Teatre in Barcelona. Until earlier this year, he taught at Chroma Teatre Estudi and he is Associate Professor of ERAM Performing Arts Degree at the University of Gerona.

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