Trained as an actor at the Institut del Teatre de Barcelona, Ferran Audí made début as stage director in 1987 in Spain, and received the Adrià Gual Award of the Generealitat de Catalunya to the Best Stage Direction Project of the Year.
He moved to London and postgraduate at the Royal Academy of Dramatic Art. He was a charter member of the company Heightened Reality in London with Jordi Cortés and Eva Morkeset and of Alta Realitat in Barcelona (2003).
He has taken part as an actor in theatre productions, film and TV and he has put plays on stage in Spain, France, United Kingdom and Norway. In 2008 he directs the Alta Realitat’s first full-length film: The Frost, with Aitana Sánchez-Gijón and Bibi Andersson among others. He has been drama teacher in Scotland, Paris and Barcelona. His last works as a stage director in Spain are the show VIATGES, presented at the GREC 2012 Festival de Barcelona, and the play IQ100. Outside Spain, his last stage works are ODA – Satans kvinne and Bukkenebruse pa badeland, both presented in Norway during 2014.
Nowadays he works as a Film & Stage Director, Script Writer and Actor, inside and outside Spain.
Ferran Audí is member of:
-The British Actor’s Equity Association
-The Director’s Guild of Great Britain
-The Catalunya Cinema Director’s School
-The Cercle de Cultura
-The Catalan Audiovisual Cluster
-The Catalan Film Academy
-From 2014, founding member of A.D.A. (Association for the Development of the Audiovisual Sector)
Represented worldwide by:
Stacey Castro Media (www.staceycastromedia.com)
About THE FROST project:
It was in 1994, when he lived in London and was undertaking a postgraduate course at the Royal Academy of Dramatic Art, when Ferran Audí, director of THE FROST, read for the first time Henrik Ibsen’s play LITTLE EYOLF (1894). Years later, in 1997, he visited Norway for the first time when he was invited to direct a stage show. Since then he’s been to Norway on three more occasions to direct theatre.
In 2006, when Alta Realitat planned its first film project, we decided to go for a free and modern version of this play, because it put questions to us which we felt were powerful questions and still very relevant today:
Which father has never felt that son and wife are a heavy burden on his shoulders which deprive him of freedom?
Which mother has never felt that her son makes her grow old too quickly? That the love the son demands drives her away from the love of her husband?
Is it admissible not to love one’s son? Even to hate him? To forsake him to such an extent that we’d whish him away… dead even?
And if fate should make that wish come true? How would we feel? How would we look at ourselves? Would we be able to face up to the truth?
How are we really, if we fail to love that which we should love above all things?