Born in Barcelona. Elisabet Biosca began her training at the city's L’Institut del Teatre, studying under Rodolfo Castellanos, Patsy Kupe-Matt, Carmen Rozestraten, Jeanne Solan, Catherine Allard, among others. In 2005 she began participating in workshops held by Joe Alegado, Ana Laguna, Roberto Oliván, Lali Aiguadé, Noah Gelber and Nazaret Panadero, among others.
In 2008 she joined the IT Dansa Jove Companyia de L’Institut del Teatre, performing pieces by such renowned choreographers as Nacho Duato, Ohad Naharin, Jirí Kylián, Alexander Ekman, Rafael Bonachela, Stijin Celis, Gustavo Ramírez, among others.
In September 2010 she joined the Compañía Nacional de Danza, then directed by José Carlos Martínez. Since then, she has danced many important roles, including Gnawa by Nacho Duato, Lady Capuleto in Romeo and Juliet by Goyo Montero, Minus 16 by Ohad Naharin, the role of Carmen in Carmen by Johan Inger, the final pas de deux in Gods and Dogs by Jirí Kylián, the main pas de deux in Extremely Close by Alejandro Cerrudo, Mudwoman in Artifact by Forsythe, the solo Vacum cleaner in Casi Casa by Matts Ek and the main pas de deux in Demodé by Iván Pérez, among other pieces. She has also danced in ballets by other prestigious choreographers and she has played main roles in various videodance short films, as Mills Papier Maché (2013) by María Salgado, El Despertar (2014) by Tensin Márquez, Itxa b (2016) and Lo que se espera de mí (2019) both also by María Salgado. She has participated in pedagogical projects including the CND repertoire and Proyecto LOVA, organised together with the Loewe Foundation. She also discovered her interest as a choreographer in creations including SN Serial Number (2014) with Antonio de Rosa, Home (2016) with Agnès López or Solitud (2017), choreographed for the Gala de Bailarines de Terrassa. In September 2016, she was promoted to soloist dancer under the artistic direction of José Carlos Martínez.