The Institut del Teatre was founded in 1913 by the Barcelona Provincial Council (Diputació de Barcelona).
Although in its initial stages it was purely a dramatic arts college, in 1944 the first dance program was introduced. The program continued to develop over the decades, and was enhanced in 2000 by creating the first, and to this date only, integrated professional dance and obligatory academic project. Its creation coincided with the occupation of the new and current installations in the ‘Ciutat del Teatre’ (Theatre City), located in the very picturesque Montjuïc in Barcelona.
To this date, the Institut del Teatre is formed by four schools: Escola Superior d'Art Dramàtic (ESAD); Conservatori Superior de Dansa (CSD); Escola Superior de Tècniques de les Arts de l'Espectacle (ESTAE); Escola d'Ensenyament Secundari i Artístic, Conservatori Professional de Dansa(EESA/CPD), and a post professional dance training program, ‘IT Dansa’.
The EESA/CPD, which is the participating school in AI 13 this year, is a six-year professional dance training program for young potential professionals for ages 12 to 20 years of age. There are three different dance itineraries in the program: Ballet, Contemporary dance and Spanish dance. Upon successfully completing the course, students receive a nationally recognized diploma.
Keith Morino, Director (EESA/CPD)
Keith Morino was born in Toronto, Canada. He trained in the professional ballet and academic program of Canada’s National Ballet School, graduating in 1987.
After participating briefly in the apprenticeship program at the National Ballet of Canada and the National Ballet of Cuba, Keith danced for three years with Nederlands Dans Theatre II in The Hague, The Netherlands, performing the choreography of Jiri Kylian, Nacho Duato, Ohad Naharin, Hans Van Mannen and Jean-Christophe Maillot, to name a few.
In 1990, he joined the contemporary dance company 'Metros' directed by Catalan choreographer Ramon Oller, with which he performed until 1998. After leaving this company, he worked as a freelance dancer.
It was during his time in 'Metros' that his interest and passion for teaching evolved, starting with teaching company classes, both ballet and modern. Between 1994 and 2006, he taught for professional dance companies and professional dance schools and conservatories such as DansHog Skolan (Sweden); Conservatorio de Danza de Sevilla (Spain); Centro Andaluz de Danza (Spain), and the EESA/CPD (Barcelona) among others.
Since 2006, Keith has been Director of the EESA/CPD in Barcelona, leading the ballet, contemporary and Spanish dance itineraries as well as the academic program that forms part of the integrated dance-academic project, unique within Spain.
Pol Jiménez Sánchez, Student choreographer
Pol Jiménez Sánchez is 17 years old. He has created several choreographic works for the conservatories annual choreographic workshops performed at the school. In March 2010, he created a solo work, Dímelo and duet, Biao. In March 2011, his solo work was titled, Bulerías and his duet, Ticopapapaaaaaaa. At the same time he was showing another solo - Niño Yuntero, that was performed in the dance festival Flamenco Ciutat Vella 2011 in Barcelona. Five works were created for the school’s choreographic festival in 2012 including the solo, Sentado, and a duet, Subsconscient which was also submitted to XX Certamen de Coreografía de danza española y flamenco 2012, where it won a scholarship for the Ballet Nacional de España. The same duet won the second prize in VII Certamen Coregràfic de Sabadell 2012. Two other solo works and a choreography for three girls completed the March 2012 contributions from Sánchez.
His work for the AI 13 is titled Re-Inici, with music by Ben Frost, Killshot. Says Sánchez, “The inspiration comes from the idea to create a piece where, within a choral movement phrase, every dancer will have a ‘personal objective’ which they must fulfil while performing the choreography. Each performer will change their attitude and movements when they complete their personal action/objective, with the exception of one dancer, who will be the only one not to have an ‘objective’. This dancer will repeat all of the choreography at the end, as a solo.
I wanted to create movement with three different dance styles: In first place, I introduced the Spanish dance (I am studying in the Spanish dance department of our conservatory) to discovered sensations and ways of working, and finally using ballet and contemporary ‘technique’ to use as a base language”.