Joan Font I Pujol started in the theatre world through Els Pastorets and La Passió, those regional Christmas celebrations held in his hometown, Olesa de Montserrat. From an early age, he took an interest in the folklore and theatre associated with Catalonian tradition, open-air performances and masks' expressive and theatrical potential. When he was 17, he moved to Barcelona to further his education at the Estudis Nous, where he met Albert Boadella, Albert Vidal, Maria Aurèlia Capmany, Josep Anton Codina and Josep Montanyès. In 1968, with José Tamayo, he worked as director's assistant in a new version of La Passió with updated and modernised staging. At the same time, he was in charge of the lighting of the variety shows of Capmany and Jaume Vidal Alcover at the venue The Dragon's Cave (Variedades 2 or La cultura de la Coca-Cola, 1969; Varietat de varietats, 1975). He also oversaw the lighting of La fira de la mort (1970), written by Vidal Alcover and interpreted by Grup d'Estudis Teatrals d'Horta. He graduated from Institut del Teatre (1970) and studied under Jacques Lecoq at his school in Paris.
Font is a founding member of the theatre company COMEDIANTS, which emerged on the independent theatre scene in Barcelona. During Font's stay in France, the company consolidated and, a year later, premiered in Font's hometown "Non plus plis", its first work. Described as a massive party, the work includes elements that characterise popular culture, such as effigies used in traditional festivities, and deals with the subjects of power structures and the consideration of the ephemeral nature of life through festivities. From this moment onward, Font worked tirelessly with COMEDIANTS as an actor, creator and director. The company followed “Non plus plis” siguen “Catacroc” (1973), “Taller” (1976), “Plou i fa sol” (1976), “Sarau de gala” (1976) and “Sol, solet” (1978), the latter being its first show performed on a proscenium stage. In 1976, seeking a location that would be more conducive to its undertakings, the company moved to Canet de Mar, where in 1983 it acquired a plot of land (Vil·la Soledat) that has been the location of La Viña Creation Centre since 1987. The company's establishment in the Maresme area of Barcelona coincided with the celebration of the Sis Hores de Cançó and Canet Rock festivals, where it collaborated with Electric Dharma Company in open-air performances. In 1980, at the Venice Biennale, Maurizio Scaparro invited COMEDIANTS to take part in helping to recover the city's Carnival tradition. This international experience constituted a significant step forward for the company. At this time, Font was collaborating with the town council of Tàrrega. Xavier Fàbregas was the head of the Catalonian government's cinema and theatrical arts initiatives. Together, they promoted the first "Trifulques Theatre Fair” and “Xim Xim in the Street" festivities, which gave rise to FiraTàrrega, one of Catalonia's most important theatre competitions. Afterwards, Font directed shows such as "Dimonis" (1981), the former being one of COMEDIANTS' most successful works, "Alè" (1984), "La nit" (1987) and "Mediterrània" (1991).
Font and his colleagues considered giving up their undertaking after a fire destroyed the company's base of operations (1990). However, the show indeed went on, as it were, and 1992 was one of the company's busiest years. Of note are its contributions to the Seville Expo '92 (daily presentation of mascot and parade, "La magia del tiempo") and the 1992 Summer Olympics held in Barcelona (presentation of mascot and closing act).
Font's ability to oversee these projects reflects his specialisation in directing large-scale events and entertainment targeting larger audiences. Beginning in 1992, the company faced economic hardships that led to a change in its organisation. On 2 February 1995, “Llibre de les bèsties” premiered at the Romea Theatre. The company used animal masks in this version of Ramon Llull's fable, reflecting the importance of masks in Font's creative vision. Arguably, it is considered COMEDIANTS' first text-based work.
Throughout the 1995s and early 2000s, Font created and directed with COMEDIANTS a wide variety of shows for diverse venues and occasions, such as inaugurations and closing ceremonies, TV advertisements, large-scale celebrations, amusement-park entertainment (such as Port Aventura, 1995-1996), festivals, sports events, etc. The staging of "The Magic Flute" (1999) at the Liceu Theatre marked the commencement of Font's involvement with opera. This project was followed by "La petita flauta mágica", a version created for the general public that premiered in 2001 and is still being performed at this time. Another work that premiered in 2001 is "BI": Two Worlds, Two Looks", in collaboration with the Acrobatic Company of China, with whom Font had come into contact during the staging of "El sol de d'Orient" (1999). His involvement with opera continued with the works "Orfeo ed Euridice" (2002), "D’òpera" (2003), which comprises fragments of several operas, and the zarzuela “La verbena de la Paloma" (2004).
With the incorporation of Sergi Belbel in the artistic direction of the National Theatre of Catalonia (2005-2006 season), Font joined the theatre's advisory committee, collaborating in this function until 2005. Since 2007, he has focussed his efforts on the artistic direction of operas that are produced by COMEDIANTS and premiered around the globe: "La Cenerentola" (2007-2008); "Faust-Bal" (2009); "La italiana in Algeri" (2009); "Il Barbiere di Siviglia" (2011). In addition to the company's productions, Font has worked as artistic director in all types of theatrical and performing-arts initiatives, "Uuuuh!", by Gerard Vázquez (2006); "El gran secret / El petit secret", with Albert Espinosa (2006); "Tren de somnis", by Jordi Sabatés (2007); "Las mil y una noches", with Frederic Amat and Paco Ibáñez (2008); "Esperando a Godot", by Samuel Beckett (2012), as well as other audio-visual, publishing and educational projects.