Susana Panadés Diaz trained in classical and contemporary dance at the Institut del Teatre in Barcelona (1989–1996), then at P.A.R.T.S. in Brussels (1996–1999) under the direction of Anne Teresa De Keersmaeker. She performed in works by several European choreographers, including Claudio Bernardo, Caterina Sagna, Fabienne Berger, and Rudi van der Merwe.
Since 2005, she has been a performer with Cie Gilles Jobin, taking part in numerous stage productions such as Steak House, Double Deux, Black Swan, Spider Galaxies, Shaker Loops, QUANTUM, and Forza Forte, as well as in the re-creations of repertoire works The Moebius Strip and A+B=X. All of these works have toured internationally across Europe, Asia, North and South America, and Africa.
With the company’s shift toward immersive and digital work beginning in 2016, her role expanded. As both performer and artistic collaborator, she specializes in motion capture from the dancer’s perspective, refining the translation of movement into digital environments and acting as a link between dancers and technologists.
She has performed in numerous digital productions, including: WOMB (3D film), VR_I (multi-user VR experience), Magic Window (AR installation), Dance Trail (AR app), La Comédie Digitale & Live Show (hybrid VR and live performance), Cosmogony (live-streamed motion capture performance), Virtual Crossings (Buenos Aires, Melbourne, Geneva), and Reset! Beasts and Demons (live stage performance in motion capture).
In parallel with her work as a performer, she develops her own artistic projects. After SPACE (2012), a stage piece produced by SudSud, she created Genetrix (2022), an immersive solo, and Miguel (2023), a dance film. Both works, produced by Cie József Trefeli, explore the intersections of body, narrative, and digital environments.
She is also involved in the development of Studio 44 MocapLab, where she leads workshops and supports resident artists in their exploration of movement and immersive technologies. She also contributes to mediation efforts around digital embodiment and the quality of movement in virtual contexts.