{"id":5387,"date":"2025-08-05T09:33:41","date_gmt":"2025-08-05T07:33:41","guid":{"rendered":"https:\/\/www.letsgocompany.com\/?p=5387"},"modified":"2025-08-26T11:03:17","modified_gmt":"2025-08-26T09:03:17","slug":"cabaret-la-revolucion-inmersiva-del-teatro-musical","status":"publish","type":"post","link":"https:\/\/www.letsgocompany.com\/es\/cabaret-la-revolucion-inmersiva-del-teatro-musical\/","title":{"rendered":"Cabaret: la revoluci\u00f3n inmersiva del teatro musical"},"content":{"rendered":"

De teatro a club<\/strong>. El equipo creativo de Cabaret<\/em> nos cuenta c\u00f3mo se ha reinventado el espacio esc\u00e9nico: inspiraciones, detalles t\u00e9cnicos y dise\u00f1o escenogr\u00e1fico.<\/h3>\n

 <\/p>\n

(Re)definiendo Cabaret<\/em><\/strong><\/h4>\n

Pensemos por un momento c\u00f3mo se definir\u00eda un cabaret<\/em>, en su sentido m\u00e1s acad\u00e9mico y racional. La Real Academia Espa\u00f1ola (RAE) lo describe como: \u2018local de diversi\u00f3n nocturna en el que se ofrecen espect\u00e1culos\u2019.<\/p>\n

Aunque la acepci\u00f3n es acertada en t\u00e9rminos cl\u00e1sicos, \u00bfsigue siendo v\u00e1lida para el espacio que estamos construyendo desde LETSGO? Probemos a diseccionarla en sus tres partes clave.<\/p>\n

S\u00ed, es un local \u2014en su sentido m\u00e1s amplio\u2014 porque en realidad es un teatro deconstruido en club. Pero tambi\u00e9n lo es en un sentido m\u00e1s clandestino. LETSGO tiene una s\u00f3lida y exitosa trayectoria en la creaci\u00f3n de sitios clandestinos: Medias Puri, U\u00f1as Chung Lee, Tacones Manoli<\/em>\u2026 Como bien matiza Felype de Lima \u2014responsable de vestuario y escenograf\u00eda\u2014:<\/p>\n

\n

Esa est\u00e9tica de lo oculto, lo inesperado, nos resulta muy cercana.<\/p>\n<\/blockquote>\n

Cabaret<\/em>, entonces, ser\u00e1 un local clandestino:<\/p>\n

\n

La idea es que el p\u00fablico llegue sin saber exactamente por d\u00f3nde se accede, que viva una experiencia previa que ya genera ese clima de misterio. Una vez dentro, se encuentra un espacio que ha cambiado por completo su configuraci\u00f3n habitual. Todo \u2014la escenograf\u00eda, los colores, el vestuario, la iluminaci\u00f3n\u2014 contribuye a crear ese concepto de lo clandestino, de lo exclusivo, de lo irrepetible.<\/p>\n<\/blockquote>\n

\"\"
\nPasemos al matiz de \u2018diversi\u00f3n nocturna\u2019\u2026 y al famoso \u2018en el que se ofrecen espect\u00e1culos\u2019. S\u00ed, habr\u00e1 diversi\u00f3n, con ambientaci\u00f3n nocturna \u2014no pod\u00eda ser de otra manera\u2014, pero subvertiremos ese final de la definici\u00f3n, que implica un espectador pasivo.
\nAqu\u00ed, el espect\u00e1culo ser\u00e1 de todo menos contemplativo.<\/p>\n

\n

La propuesta esc\u00e9nica rompe la cuarta pared de ra\u00edz. El escenario como tal deja de existir: lo ocupa el p\u00fablico. Y los actores se mezclan con ellos. Todo est\u00e1 pensado para eliminar esa distancia emocional y f\u00edsica. Para que el p\u00fablico no solo mire: para que viva Cabaret<\/em> desde dentro.<\/p>\n<\/blockquote>\n

 <\/p>\n

El nuevo espectador<\/strong><\/h4>\n

Este nuevo acercamiento en la relaci\u00f3n escenario-espectador no ha sido fortuito. Es el resultado de la evoluci\u00f3n org\u00e1nica de un espect\u00e1culo como Cabaret<\/em>. El equipo detr\u00e1s de la escenograf\u00eda \u2014Felype de Lima y Paloma Correa\u2014 se ha encargado de estudiar a fondo las distintas versiones que se han hecho de la obra a lo largo del tiempo. De esa investigaci\u00f3n ha nacido una experiencia \u00fanica, tanto para el espectador como para los actores. Al respecto menciona Felype de Lima:<\/p>\n

\n

Pasamos de un escenario a la italiana \u2014con la cl\u00e1sica separaci\u00f3n entre escenario y p\u00fablico\u2014, a una configuraci\u00f3n provocadora, hasta llegar al escenario circular a dos bandas, presente en las \u00faltimas producciones de Inglaterra y Estados Unidos. Aqu\u00ed hemos querido ir m\u00e1s all\u00e1: borrar esa barrera, destruir la cuarta pared y hacer que el p\u00fablico entre literalmente en escena. Todo el teatro se convierte en el Kit Kat Klub, y los actores se mueven entre los espectadores. Es, sin duda, la propuesta m\u00e1s interesante que hemos hecho con Cabaret<\/em>.<\/p>\n

El hecho de sentarte en un club, tener a los m\u00fasicos al lado, ver pasar a los personajes, escucharlos cantar a pocos cent\u00edmetros… es lo m\u00e1s inmersivo y emocionalmente potente que se puede vivir dentro de esta historia.<\/p>\n<\/blockquote>\n

\"\"<\/p>\n

 <\/p>\n

De teatro a club: detalles de la transformaci\u00f3n <\/strong><\/h4>\n

Si bien la transformaci\u00f3n del Teatro Alb\u00e9niz ha sido uno de los mayores retos de la producci\u00f3n, est\u00e1 claro que no ha sido el \u00fanico. La remodelaci\u00f3n completa de la planta del teatro ha implicado el desmontaje de todo el patio de butacas original y la reconstrucci\u00f3n del espacio en una escalinata con tarimas, manteniendo la inclinaci\u00f3n y sosteniendo sets el\u00e9ctricos, mesas, sillas, l\u00e1mparas, moqueta\u2026 todo con el objetivo de recrear el nuevo ambiente del club.<\/p>\n

\n

Intentamos que la inclinaci\u00f3n del antiguo patio de butacas se viera reflejada en la nueva disposici\u00f3n. Se genera una especie de \u201cbache\u201d entre ambas zonas, y a partir de ah\u00ed, vuelve a surgir todo. Hablamos de m\u00e1s de cuatrocientas sillas, un aut\u00e9ntico mar de sillas y mesas con l\u00e1mparas, tel\u00e9fonos, mobiliario al estilo Bonnet… Dise\u00f1ar esa continuidad, diluir la barrera y borrar la desembocadura para que todo sea escenario ha sido una de las partes m\u00e1s complejas. \u2014comenta Felype de Lima.<\/p>\n<\/blockquote>\n

\"\"<\/p>\n

Pero, \u00bfqu\u00e9 ha marcado en todo momento el dise\u00f1o del espacio y la escenograf\u00eda? El formato inmersivo<\/em><\/strong><\/a>, sin duda. A nivel t\u00e9cnico ha sido un desaf\u00edo no solo la construcci\u00f3n, sino tambi\u00e9n el acabado de los detalles. El p\u00fablico podr\u00e1 ver \u2014y juzgar\u2014 muy de cerca el vestuario, los colores, el sonido, las luces. En este sentido, el musical est\u00e1 siendo una aventura para los dise\u00f1adores, acostumbrados a trabajar con varas, calles, sonido y luz convencionales. La presencia del p\u00fablico dentro del espacio ha exigido camuflar o integrar el equipo t\u00e9cnico en el decorado.<\/p>\n

\"\"<\/p>\n

 <\/p>\n

Una escenograf\u00eda, m\u00faltiples ambientes<\/strong><\/h4>\n

Esta nueva versi\u00f3n llega, adem\u00e1s, con una escenograf\u00eda \u00fanica \u2014otro elemento que rompe con el musical tradicional\u2014, construida no solamente con objetos, sino tambi\u00e9n con atm\u00f3sferas. Durante el show, es mediante carteles y otros elementos que se sugiere el paso a los diferentes espacios: el Kit Kat Klub, la pensi\u00f3n, la fruter\u00eda\u2026 Todo marcado con una ambig\u00fcedad deliberada, el espectador nunca tiene claro si est\u00e1 dentro o fuera y, en este sentido, cada uno elige su nivel de inmersi\u00f3n. Estos cambios de ambiente a lo largo de la obra tienen una funcionalidad clara: estar al servicio de la historia y del gran final:<\/p>\n

\n

El final debe ser de \u00ab\u00bfqu\u00e9 ha pasado aqu\u00ed?\u00bb. El cambio escenogr\u00e1fico es brutal. Y hay un elemento que potencia todo esto: el dise\u00f1o de iluminaci\u00f3n de Valerio Tiberi<\/a><\/strong>. La forma en la que cambia el espacio a trav\u00e9s de la luz, la arquitectura lum\u00ednica, es impresionante.<\/p>\n<\/blockquote>\n

\"\"<\/p>\n

 <\/p>\n

Un recorrido sensorial<\/strong><\/h4>\n

La escenograf\u00eda es tan envolvente como la historia en s\u00ed. En Cabaret<\/em>, se convierte en un dispositivo emocional: su funci\u00f3n no es solo situar al espectador en un espacio f\u00edsico, sino tambi\u00e9n colocarlo en un estado mental. Desde el primer paso dentro del teatro \u2014o mejor dicho, del club\u2014, se activa una narrativa sensorial.<\/p>\n

El espectador enseguida se encuentra rodeado de est\u00edmulos que se activan desde la entrada y el transcurso del preshow<\/em>: la cercan\u00eda de los actores, la maestr\u00eda de la iluminaci\u00f3n y el sonido, las texturas y los efectos, el rojo del suelo, los telones, el mobiliario. Esa saturaci\u00f3n sensorial genera una alerta emocional. De espectador de teatro a cliente del Kit Kat Klub.<\/p>\n

\n

Queremos que el p\u00fablico entre y diga \u00ab\u00a1wow!\u00bb. Ese efecto de shock visual desde el primer segundo, con una escenograf\u00eda completamente roja \u2014suelos, sillas, telones\u2014 y una disposici\u00f3n conc\u00e9ntrica que lleva la mirada a un punto central: una mesa donde se sentar\u00e1n personas que vivir\u00e1n el espect\u00e1culo a cent\u00edmetros de los artistas.<\/p>\n<\/blockquote>\n

\"\"
\nEl dise\u00f1o del espacio, en este Cabaret<\/em>, funciona casi como un estado de \u00e1nimo. Oscila entre la euforia del show y la amenaza latente de lo que est\u00e1 por venir. Esa tensi\u00f3n se construye desde lo escenogr\u00e1fico, con un nuevo giro de lo inmersivo<\/em><\/strong><\/a>: no solo en lo espacial, sino tambi\u00e9n en lo emocional. Y es precisamente ese matiz \u2014un golpe sensorial y simb\u00f3lico\u2014 el que invita a reflexionar sobre el contexto social y pol\u00edtico actual.<\/p>\n

https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/08\/CBRT_VISITA-TALLER_2.mp4<\/a><\/video><\/div>\n

 <\/p>\n

Por La Pluma de LETSGO, Claudia P\u00e9rez Carbonell, a 5 de agosto de 2025<\/p>\n

 <\/p>\n

 <\/p>\n

\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

De teatro a club. El equipo creativo de Cabaret nos cuenta c\u00f3mo se ha reinventado el espacio esc\u00e9nico: inspiraciones, detalles t\u00e9cnicos y dise\u00f1o escenogr\u00e1fico.   (Re)definiendo Cabaret Pensemos por un momento c\u00f3mo se definir\u00eda un cabaret, en su sentido m\u00e1s acad\u00e9mico y racional. La Real Academia Espa\u00f1ola (RAE) lo describe como: \u2018local de diversi\u00f3n nocturna […]<\/p>\n","protected":false},"author":12,"featured_media":5657,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"off","_et_pb_old_content":"

[et_pb_section][et_pb_row][et_pb_column type=\"4_4\"][et_pb_text]<\/p>

We sat down with Valerio Tiberi to talk about creativity and technique in stage lighting.<\/h3>

\u00a0<\/p>

Theatre (\u2026) is the only place where you can rediscover darkness.<\/p><\/blockquote>

\u00a0<\/p>

Valerio Tiberi is one of the most sought-after lighting designers in the European theatre scene. His professional range spans from opera productions in emblematic venues like the Op\u00e9ra Bastille in Paris and Teatro alla Scala in Milan, to international musicals such as The Phantom of the Opera<\/em><\/a><\/strong>, Cabaret<\/em><\/a><\/strong>, or West Side Story<\/em>; ballet (A Thousand Tales<\/em>, Alice in Wonderland<\/em>, etc.), and haute couture fashion shows for brands like Valentino and Dolce & Gabbana. He has received numerous awards, including the Italian Musical Oscar and Best Lighting Design.<\/p>

His work strikes a natural balance between technical precision and aesthetic sensitivity \u2014which is no small feat. In this interview, he opens up about his creative process, his reflections, and the challenges of lighting vastly different worlds: the theatre stage and the fashion runway.<\/p>

\"\"<\/p>

\u00a0<\/p>

The challenge of lighting a classic<\/strong><\/h4>

Tiberi recalls that his relationship with LETSGO dates back at least to 2016, when they produced Dirty Dancing<\/em> in Spain for the first time:<\/p>

I came with Federico Bellone; we were the original creative team. Since then, we\u2019ve done many productions [with LETSGO], but without a doubt, the most successful one is The Phantom of the Opera<\/a><\/strong><\/em>.<\/p><\/blockquote>

Being part of the first Spanish-language production of one of the most successful musicals in history was a challenge in every sense. Tiberi remembers staging Phantom<\/em> at Teatro Alb\u00e9niz as \u201ca very difficult project.\u201d This is where the intricacies of lighting design come into play, when theory meets the hard ground of practice:<\/p>

The biggest challenge was finding the physical space to place the light. We can all come up with incredible ideas, but my job is to make them into reality.<\/p><\/blockquote>

\"\"<\/p>

Lighting design by Valerio Tiberi for The Phantom of the Opera<\/em> (Madrid production). Photo: LETSGO.<\/p>

\u00a0<\/p>

It was one of those times when art has to come down to earth: adapting to budgets, technical layouts, timelines, and spatial limitations. Finding the perfect spot for the light, and projecting from there.<\/p>

We used very powerful light sources that could do several things at once: specials, washes, effects. We worked a lot with light tilting to create depth, and we also used smoke, fire... fire is light, too, of course.<\/p><\/blockquote>

An artist\u2019s greatness often lies in their versatility. Cabaret<\/em> <\/a><\/strong>is a whole different beast \u2014but naturally, Tiberi embraces the challenge:<\/p>

In Cabaret<\/em>, the approach is completely different. It\u2019s an immersive production and although we\u2019re still in the creative process, the challenge is once again the same: finding space for the lights. Only this time, the light is exposed. In Phantom<\/em>, it was hidden. The audience didn\u2019t see it. In Cabaret<\/em>, the lighting is part of the set. Everyone will see it.<\/p><\/blockquote>

\u00a0<\/p>

Thinking like the audience<\/strong><\/h4>

Lighting design is not just a technical craft. How do you think about a show when you\u2019re a creative but can\u2019t lose sight of the surgical precision that light demands? Luckily, artistic environments are fertile ground for questioning and transformation.<\/p>

Tiberi is clear: the key is thinking like the audience. In the end, it all comes back to emotion and to human reaction:<\/p>

There\u2019s no one rule. I adapt to each situation. For example, with Cabaret<\/em>, I started from the tools: I knew I needed dynamic, effect-driven lighting. In Phantom<\/em>, it was the opposite: storytelling was my starting point.
But in both cases, I try to keep an artistic mindset from the beginning. I like to think like the audience. The audience doesn\u2019t know if it was hard or easy to achieve an effect; they only know if it moved them. That\u2019s why I try to understand how the human mind reacts to light, to color, to stimuli. And that changes depending on the type of show, the city, the society. It\u2019s not just design: it\u2019s psychology.<\/p><\/blockquote>

\"\"<\/p>

Custom Gobos used on The Phantom of the Opera<\/em>. Courtesy of Valerio Tiberi.<\/p>

\u00a0<\/h4>

\u00a0<\/p>

Rediscovering darkness<\/strong><\/h4>

Tiberi is fascinated by a deeply contemporary concern: in a world blinded by light (computers, phones...) we\u2019ve become unavailable to darkness. We live in a state of overexposure, often without even realizing it.<\/p>

Theatre, like some exhibitions, is the only place where you can rediscover darkness. That\u2019s why I always start from the dark. And from there, I build layers. I begin with the black, then work on the amount of light: the white. And if needed, the colors come after. Contrast is essential. I\u2019m not just talking about aesthetics; I\u2019m talking about creating an intimate experience, something the audience doesn\u2019t find in their daily lives.<\/p><\/blockquote>

\u201cRediscovering darkness (\u2026) an intimate experience.\u201d <\/em>To train the mind to appreciate privacy and reflective environments \u2014so often linked to solitude and twilight\u2014 has become a monumental act. In this sense, framing theatre as a space that revives our most primal thoughts and relationships isn\u2019t nostalgia: it\u2019s a new form of approach, born from our modern context.<\/p>

\u00a0<\/p>

Can AI understand theatre?<\/strong><\/h4>

Another hallmark of our times: new technologies and the relationships we forge with them. Tiberi acknowledges that AI has helped him streamline tasks and compare ideas:<\/p>

It\u2019s like a secretary: I feed it images, concepts, and ask it to try out atmospheres. But of course, AI doesn\u2019t know where to physically place a light in the theatre, or which type to use, or when. It helps optimize, expand your thinking, but not solve the essentials.
I mostly use it for dramaturgy. I create mental maps of the show, there, it\u2019s useful. But you need time. If you\u2019re working, you\u2019re working. Still, I think many professions could benefit from AI if used wisely.<\/p><\/blockquote>

Despite growing discussions about whether human creativity can be replaced by algorithms, Tiberi reminds us that some things can\u2019t be substituted. Asked about a moment where lighting was crucial to solving a dramaturgical challenge, he shares:<\/p>

In Houdini<\/em><\/strong><\/a>, in Italy, one of the last scenes was very hard to resolve. We talked for weeks about how to stage it\u2026 and in the end, I did something very simple in the theatre and it worked. Sometimes we overthink things, and the solution is in the simplest move.<\/p><\/blockquote>

\"\"<\/p>

Lighting design by Valerio Tiberi for Houdini<\/a> <\/em><\/strong>(Italy production).<\/p>

\u00a0<\/p>

Being a designer today: the power of active experience<\/strong><\/h4>

In a world where instinct and hands-on experience make all the difference, Tiberi knows exactly what he\u2019d tell a young lighting designer starting out:<\/p>

Nowadays, with all the tech out there, it\u2019s easy to reach an average level. But getting to the top is harder than ever. The key is real experience. You need to be in the theatre, live the space, rehearse, test. Be there at least 300 days a year. And travel. See shows, museums, exhibitions. Not just modern ones, classics too. Go to the Louvre, to MoMA\u2026 Start from what\u2019s tangible. Don\u2019t stay in one country, or one style.<\/p><\/blockquote>

On his experience teaching at the Accademia Teatro alla Scala, he adds:<\/p>

I don\u2019t want to be a traditional professor. I want to speak from experience, what\u2019s worked and what hasn\u2019t. I try to involve my students directly in the theatre. That\u2019s where real learning happens.<\/p><\/blockquote>

\"\"<\/p>

Color List used for the lighting design (left) and Designer\u2019s magic sheet (right), both used on The Phantom of the Opera<\/em>. Courtesy of Valerio Tiberi.<\/p>

\u00a0<\/p>

Fashion vs. Theatre: two worlds, two timeframes<\/strong><\/h4>

As mentioned earlier, Tiberi\u2019s work isn\u2019t limited to the stage or the classroom. He\u2019s also designed lighting for fashion shows, where atmosphere and storytelling \u2014when present\u2014 play a secondary role. But where does the real difference lie between stage and runway?<\/p>

It\u2019s all about timing. In fashion, preproduction is long, but setup takes just two or three days. And the show lasts, at most, twenty minutes. In that time, you run seven or eight cues: the intro, models entering, the runway, the finale, the exit.
It may not sound like much, but it\u2019s a massive job, with last-minute changes, contradictory decisions\u2026 sometimes the day before.
Above all, it\u2019s about the clothes. You need to light the garments with natural-looking light, without altering colors, minimizing shadows. The image must be clean, sharp. Sure, you work on the mood, but ultimately, it\u2019s about showcasing the clothes. It\u2019s about showing and selling.
And the goal is completely different from theatre. In a fashion show, what matters most is what ends up on Instagram. Lighting has to be tailored for smartphones, not for the human eye. And there\u2019s the live stream too, all the major brands do it now.<\/p><\/blockquote>

\u00a0<\/p>

The emotional impact of light<\/strong><\/h4>

A profession that walks the line between creativity and technicality but that, above all, demands a sensibility centered on the audience. In this sense, theatre stands as a master at evoking the deepest emotions.<\/p>

\"\"<\/p>

Lighting design by Valerio Tiberi for Natura Encesa <\/em>(Barcelona production). Photo: LETSGO.<\/p>

\u00a0<\/em><\/p>

In musical theatre, the show comes together during previews, where you polish the details. The most emotional moment is the premiere, that\u2019s when you can finally sit back and enjoy. Opening night is when you let go and just watch.<\/p><\/blockquote>

The premiere is the first glimpse into the emotional impact a piece can have, not just on the audience, but on the team behind it. In September 2024, Valerio Tiberi returned to Madrid after nearly a year, not because of Phantom<\/em>, but for unrelated reasons. Still, he went back to the Alb\u00e9niz to see the show again:<\/p>

I was crying the whole time. After a year\u2026 it made me cry. When that happens, it\u2019s a good thing.<\/p><\/blockquote>

\u00a0<\/p>

By<\/span> The<\/span> LETSGO<\/span> Pen<\/span>,<\/span> Claudia P\u00e9rez Carbonell,<\/span> on <\/span>July 15th<\/span>, 2025<\/span><\/span>\u00a0<\/span><\/p>

\u00a0<\/span><\/span><\/p>

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