Blanca Noguerol Ramírez
Growing up in Barcelona, Blanca Noguerol Ramírez was passionate about Pina Bausch’s work from a young age. She came to dance through her aunt, who was a dancer and ran a dance school, and who also showed her a video of Pina Bausch’s The Rite of Spring. It awakened a desire in Blanca to become a dancer at the Tanztheater Wuppertal Pina Bausch. At the age of six, she started learning ballet, following the Royal Academy of Dance system, and later also studied Spanish dance. “Contemporary dance came later”, she says. Blanca studied physiotherapy and dance, going to the conservatoire in the mornings and to university in the evenings. She also gave classes and performed with several independent groups in Barcelona and at the Opera House.
When the Tanztheater Wuppertal came to perform at the Teatre Nacional de Catalunya, she seized the opportunity and spoke to the dancers in the ensemble, who advised her to go to Essen to study at the Folkwang School. Blanca Noguerol Ramirez followed their advice and gained a Master’s degree in Essen. After graduating, she spent four years dancing at the Folkwang Studio. “It was a very interesting time”, she says today. She worked with many choreographers including Emanuel Gat, David Hernandez, Mark Sieczkarek, Susanne Linke and Rodolpho Leoni. She danced as a guest artist at the Stadttheater Münster under the direction of Daniel Goldin, and in 2010 performed in The Rite of Spring, also as a guest dancer. Later she performed in On the Mountain a Cry was heard and in no title, a choreography by Jorge Puerta Armenta for the UNDERGROUND III series. As a freelance dancer she worked with Xavier Le Roy and Mårten Spångberg on Production, with Allora & Calzadilla on Revolving Doors for the Ruhrtriennale 2012, and with Heiner Goebbels and Mathilde Monnier on Surrogate Cities in 2014.
After an audition in Wuppertal in 2015 she became a permanent member of the ensemble. “I love Pina Bausch’s pieces!” The many different characters on stage fascinate her. And the greatest thing is that there are still so many people here who have worked with Pina Bausch: “I can learn so much from them.”