Recently named Knight of the Order of Arts and Letters by the French Ministry of Culture and selected as the best choreographer of the last year by the German magazine TANZ, the career of Marcos Morau (Valencia 1982) continues to grow as a creator and director of scene.
Trained between Barcelona and New York, in photography, choreography and theater theory and dramaturgy Marcos Morau builds imaginary worlds and landscapes where image, text, movement, music and space constitute a unique universe that is constantly nourished by cinema, photography and Literature.
Since 2004, Marcos has directed La Veronal, a company present at the top theaters and festivals in more than thirty countries: Théâtre National de Chaillot in Paris, the Biennale di Venezia, the Festival d’Avignon, Tanz Im August in Berlin, Festival RomaEuropa, SIDance Festival de Seoul, Sadler’s Wells in London, Danse Danse Montreal, among many others.
In addition to his work with La Veronal, Marcos Morau is an international guest artist in several companies and theaters where he develops new creations, always at halfway between performing arts and dance: Nederlands Dans Theater, Lyon Opera Ballet, Les Grands Ballets Canadiens, Royal Danish Ballet or The Royal Ballet of Flanders, among others.
Being the youngest creator to obtain the National Dance Prize, the highest recognition in Spain, the future of Morau and La Veronal pursues the search for new formats and languages where opera, dance and physical theater dialogue closer than ever, seeking new ways of expressing and communicating in our present time, always turbulent and changing.
Since this season, he is associate artist at the Staatsballett Berlin.
“La Veronal is a reminder that dance is often at the forefront of the most innovative theater.” – The New York Times
“Morau’s visual treatment is so brilliant, so vividly strange, that “we succumb to what also turns out to be a story of transmission and emancipation.” – Le Monde
“Morau, one of the most interesting young choreographers on the dance scene contemporary.” – El País
