Born in 1987 in Port-au-Prince, Gaëlle Bien-Aimé is now based principally in France. An activist and member of the Haitian feminist organisation Nègès Mawon, she co-founded the drama training school Acte in Port-au-Prince. Her theatre company Corps et Âme has been active since 2004. In 2010, she studied at ESACT in Liège, before creating Le Genre et le Nombre, a sex education show, the following year. In November 2015, she also trained in stand-up comedy at the École Nationale de l'Humour de Montréal, before creating her first solo show, #JeSuisGaëlle in 2017. 

After creating Talon aiguille, talon d'Achille (2015), in 2020 she directed Avilir les ténèbres, a play by the Haitian poet Jean d'Amérique, with whom she shares a common theme and a similar lyrical aesthetic. The same year, a writing residency at the Maison des Auteurs (Limoges) gave birth to Que ton règne vienne, a powerful theatrical dialogue that was performed at the Avignon Festival. 

Often taking the form of a dialogue between two characters, Gaëlle Bien-Aimé's plays are rooted in the daily life of Haiti, a country from which she had to flee because of the extreme violence that reigns there, especially against women. An activist for many years within the Nègès Mawon association, Gaëlle Bien-Aimé uses her comedy shows and plays to unravel the machismo that creeps into everyday life, in words and fears. In her play Que ton règne vienne, two men find themselves trapped in the burning streets of Port-au-Prince. In this climate of insurrection and violence, they talk about the state's complicity with the gangs, the femicides and the many other difficulties facing the country.  

In 2022, Gaëlle Bien-Aimé won the RFI Theatre Prize, which led to her being broadcast on RFI as part of the Ça va, ça va le monde! series of readings recorded at the Avignon Festival. That same year, she was awarded the Afriques Haïti writing residency, offered by ALCA and the Institut des Afriques, which gave her the opportunity to write a new play, Port-au-Prince et sa douce nuit. Once again, this play takes the form of a dialogue: in the Haitian capital, two lovers spend a night together and talk about how the city has become a trap that has closed in on them, preventing them from projecting themselves into a life together. At the same time, their love allows them to give meaning to this torn city: as the author herself says, "it is a love story between two people and the city of Port-au-Prince where they live".