{"id":5868,"date":"2025-09-09T11:50:48","date_gmt":"2025-09-09T09:50:48","guid":{"rendered":"https:\/\/www.letsgocompany.com\/?p=5868"},"modified":"2025-09-10T15:00:41","modified_gmt":"2025-09-10T13:00:41","slug":"gillian-bruce-la-coreografia-como-narrativa-en-teatro-musical","status":"publish","type":"post","link":"https:\/\/www.letsgocompany.com\/es\/gillian-bruce-la-coreografia-como-narrativa-en-teatro-musical\/","title":{"rendered":"Gillian Bruce: la coreograf\u00eda como narrativa en teatro musical"},"content":{"rendered":"<h3 style=\"text-align: left;\">Una conversaci\u00f3n sobre el guion como punto de partida, el espacio como eje y la danza como lenguaje narrativo en el musical.<\/h3>\n<p>&nbsp;<\/p>\n<div style=\"width: 1080px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-5868-1\" width=\"1080\" height=\"345\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/09\/Showreel-Gillian-Bruce-short-1440x460-1.mp4?_=1\" \/><a href=\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/09\/Showreel-Gillian-Bruce-short-1440x460-1.mp4\">https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/09\/Showreel-Gillian-Bruce-short-1440x460-1.mp4<\/a><\/video><\/div>\n<p>Showreel de trayectoria. Material cedido por Gillian Bruce.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<blockquote>\n<p style=\"text-align: right;\">El core\u00f3grafo logra meter las yemas de los dedos en la tierra donde no hay nombres para nada.<\/p>\n<\/blockquote>\n<p>&nbsp;<\/p>\n<h4 style=\"text-align: left;\"><strong>La danza: entre autonom\u00eda y relato<\/strong><\/h4>\n<p style=\"text-align: left;\">Desde los ritos ancestrales hasta Broadway hay un largo recorrido cultural que involucra la danza como una de las formas m\u00e1s antiguas de comunicaci\u00f3n no verbal. A trav\u00e9s del cuerpo, el ritmo, el gesto, el espacio y el tiempo, transmite significados que las palabras no alcanzan.<\/p>\n<p style=\"text-align: left;\"><strong>Pero, \u00bfqu\u00e9 sucede cuando ese lenguaje deja de ser aut\u00f3nomo para convertirse en la extensi\u00f3n de un relato? <\/strong><\/p>\n<p style=\"text-align: left;\">Esa tensi\u00f3n entre lo aut\u00f3nomo y lo narrativo es precisamente el terreno en el que se mueve Gillian Bruce, core\u00f3grafa brit\u00e1nica afincada en Italia y Espa\u00f1a, que ha firmado t\u00edtulos como <em>Newsies<\/em>, <em>Dirty Dancing<\/em> o <em>Mary Poppins<\/em>. Para ella, la danza en un musical no es adorno, sino una pieza clave en el engranaje de la dramaturgia: \u00absi no cuentas una historia, solo es recordar pasos\u00bb, explica.<\/p>\n<p style=\"text-align: left;\">En el teatro musical, la danza forma parte de un di\u00e1logo m\u00faltiple que fluye en todas direcciones junto a la m\u00fasica, la letra y el guion. Para Bruce, el elemento decisivo en este g\u00e9nero es sin duda el guion: es lo que la hace aceptar o rechazar un proyecto y lo que delimita el terreno de juego de la coreograf\u00eda:<\/p>\n<blockquote>\n<p style=\"text-align: left;\">Siempre empiezo desde el guion. Para m\u00ed, el <em>storytelling<\/em> es lo m\u00e1s importante, incluso en la coreograf\u00eda. La danza se convierte en parte del show cuando los bailarines tambi\u00e9n act\u00faan, y transmitir emociones al p\u00fablico es lo esencial en un musical.<\/p>\n<\/blockquote>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-5892 size-full\" src=\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/09\/IMG-04.jpg\" alt=\"\" width=\"1440\" height=\"460\" srcset=\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/09\/IMG-04.jpg 1440w, https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/09\/IMG-04-1280x409.jpg 1280w, https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/09\/IMG-04-980x313.jpg 980w, https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/09\/IMG-04-480x153.jpg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) and (max-width: 980px) 980px, (min-width: 981px) and (max-width: 1280px) 1280px, (min-width: 1281px) 1440px, 100vw\" \/><\/p>\n<p style=\"text-align: left;\">Foto: LETSGO. Producci\u00f3n:\u00a0<i>El Fantasma de la \u00d3pera<\/i>. Coreograf\u00eda: Gillian Bruce.<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: left;\">Est\u00e1 claro que la coreograf\u00eda en el musical est\u00e1 al servicio de la historia; sin embargo, pensar que la danza en s\u00ed misma tiene un significado realmente potente no es nada descabellado, ya lo comentaba H. Scott McMillin (2006) en su <em>The Musical as Drama<\/em>:<\/p>\n<blockquote>\n<p style=\"text-align: left;\">Las palabras no son fundamentales en el teatro musical. Est\u00e1 bien tenerlas, las palabras, la gente dialogando, una trama que se va formando en el tiempo del libreto, pero la danza crea una inmediatez de acci\u00f3n que las palabras pueden entorpecer. (\u2026) Balanchine le dijo una vez a Robbins que <strong>el core\u00f3grafo logra meter las yemas de los dedos en la tierra donde no hay nombres para nada<\/strong>. Estaba describiendo la esencia de la danza, que no requiere palabras, solo m\u00fasica y el cuerpo danzante. La danza puede servirse de palabras, pero no las necesita.<\/p>\n<\/blockquote>\n<p style=\"text-align: left;\">En este punto es conveniente distinguir entre la danza como forma de expresi\u00f3n en s\u00ed misma y la coreograf\u00eda entendida dentro del teatro musical. La primera implica un movimiento que puede ser libre, individual, ritual o art\u00edstico, capaz de transmitir emoci\u00f3n sin necesidad de un relato. La segunda, en cambio, organiza esos movimientos en funci\u00f3n de un guion y de un montaje, desarrollando un lenguaje estructurado, con dramaturgia, personajes y objetivos narrativos. En este sentido, el trabajo de Gillian Bruce reside, sobre todo, en transformar la danza en coreograf\u00eda, es decir, en un tipo de narraci\u00f3n m\u00e1s f\u00edsica.<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-5883 size-full\" src=\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/09\/IMG-01.jpg\" alt=\"\" width=\"1440\" height=\"460\" srcset=\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/09\/IMG-01.jpg 1440w, https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/09\/IMG-01-1280x409.jpg 1280w, https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/09\/IMG-01-980x313.jpg 980w, https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/09\/IMG-01-480x153.jpg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) and (max-width: 980px) 980px, (min-width: 981px) and (max-width: 1280px) 1280px, (min-width: 1281px) 1440px, 100vw\" \/><\/p>\n<p>Foto: LETSGO. Producci\u00f3n: <i>Charlie y la F\u00e1brica de Chocolate<\/i>. Coreograf\u00eda: Gillian Bruce.<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: left;\">En el musical, la danza opera en un terreno h\u00edbrido: por un lado, puede existir como lenguaje aut\u00f3nomo; por otro, se fusiona con el guion, la m\u00fasica y la letra para contar la historia de manera m\u00e1s inmediata y visceral. La core\u00f3grafa lo entiende y lo practica: en <a href=\"https:\/\/www.letsgocompany.com\/es\/cabaret-la-revolucion-inmersiva-del-teatro-musical\/\"><strong><em>Cabaret<\/em><\/strong><\/a>, por ejemplo, la interacci\u00f3n de los cuerpos en el escenario inmersivo permite al p\u00fablico vivir la decadencia y el peligro del club de manera m\u00e1s profunda de lo que el libreto describe, creando una narrativa corporal que complementa y amplifica la historia.<\/p>\n<p style=\"text-align: left;\">Entender el potencial de la danza al que se refiere McMillin (2006) y lograr el equilibrio con el guion en un musical es uno de los muchos desaf\u00edos que enfrenta Bruce. Al final, el musical no subvierte la danza ni las palabras, sino que las hace coexistir, reforz\u00e1ndose mutuamente en un di\u00e1logo que es a la vez colectivo, visual y emocional.<\/p>\n<p>&nbsp;<\/p>\n<h4 style=\"text-align: left;\"><strong>El espacio como eje <\/strong><\/h4>\n<p style=\"text-align: left;\">Una vez alcanzada la armon\u00eda entre guion y danza, interviene otro elemento fundamental: el espacio. Sobre c\u00f3mo el espacio modifica la coreograf\u00eda, Bruce comenta:<\/p>\n<blockquote>\n<p style=\"text-align: left;\">Hace una diferencia enorme. He trabajado en grandes escenarios, otros m\u00e1s peque\u00f1os, me gustan todos, pero obviamente tienes que encontrar un lenguaje diferente para cada uno. Es muy importante entender los tipos de movimiento que puedes hacer en cada espacio.<\/p>\n<\/blockquote>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-5886 size-full\" src=\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/09\/IMG-02.jpg\" alt=\"\" width=\"1440\" height=\"460\" srcset=\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/09\/IMG-02.jpg 1440w, https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/09\/IMG-02-1280x409.jpg 1280w, https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/09\/IMG-02-980x313.jpg 980w, https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/09\/IMG-02-480x153.jpg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) and (max-width: 980px) 980px, (min-width: 981px) and (max-width: 1280px) 1280px, (min-width: 1281px) 1440px, 100vw\" \/><\/p>\n<p>Foto: LETSGO. Producci\u00f3n: <i>El Fantasma de la \u00d3pera<\/i>. Coreograf\u00eda: Gillian Bruce.<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: left;\">Sobre su experiencia con <strong><a href=\"https:\/\/www.letsgocompany.com\/es\/cabaret-la-revolucion-inmersiva-del-teatro-musical\/\"><em>Cabaret<\/em><\/a><\/strong>, a\u00f1ade:<\/p>\n<blockquote>\n<p style=\"text-align: left;\">Esta versi\u00f3n que estamos haciendo, quiero agradecer a I\u00f1aki [Fern\u00e1ndez, CEO de LETSGO] por la oportunidad, porque es la primera vez en mi vida que trabajo con el formato inmersivo. Cuando vi el set por primera vez, pens\u00e9: \u00abPor dios, esto es dif\u00edcil, \u00bfc\u00f3mo lo vamos a hacer?\u00bb. Pero me estoy divirtiendo much\u00edsimo porque es muy estimulante, totalmente diferente. Siempre me gusta situarme en la perspectiva del p\u00fablico. Aqu\u00ed, con un espacio tan loco en el centro, es muy complicado, pero creo que podr\u00e9 hacerlo funcionar. Es un proyecto incre\u00edble, me encanta y me lo estoy pasando muy bien.<\/p>\n<\/blockquote>\n<p>&nbsp;<\/p>\n<h4 style=\"text-align: left;\"><strong>Nuevo musical, nuevo lenguaje corporal <\/strong><\/h4>\n<p style=\"text-align: left;\">Tras entender c\u00f3mo el guion y el espacio condicionan la danza, llega el momento de adaptar esos elementos a la personalidad de cada espect\u00e1culo. Para Bruce, <strong><a href=\"https:\/\/www.entradas.com\/artist\/cabaret\/?affiliate=CB2&amp;_gl=1*nw9mgf*_gcl_aw*R0NMLjE3NTAyNDc4NTIuRUFJYUlRb2JDaE1JMXJiX3BfWDZqUU1WR1ZOQkFoMXh4Z1NBRUFBWUFTQUFFZ0x5RFBEX0J3RQ..*_gcl_au*NjY0ODYzMDE5LjE3NTU3ODIzNzg.*_ga*MjYxMzY3ODAyLjE3NDY3MjA0NjU.*_ga_HYBFXSHWZ5*czE3NTczMTg0MTEkbzQxJGcxJHQxNzU3MzE5MTkzJGo2MCRsMCRoMTQyNjE2MDM2Nw..\"><em>Cabaret<\/em> <\/a><\/strong>y <strong><a href=\"https:\/\/www.letsgocompany.com\/es\/houdini-un-musical-magico-mas-alla-del-mito-y-la-cancion\/\"><em>Houdini<\/em> <\/a><\/strong>representan desaf\u00edos completamente distintos, que requieren lenguajes coreogr\u00e1ficos muy particulares:<\/p>\n<blockquote>\n<p style=\"text-align: left;\">Son dos proyectos muy grandes, pero muy diferentes. Yo tengo un \u00abmodo de hacer coreograf\u00eda\u00bb, pero no me gusta repetirme; siempre intento encontrar algo nuevo y desafiarme para salir de mi zona de confort. Me encanta trabajar en Espa\u00f1a por esta raz\u00f3n: tienen una mente muy abierta, no tienen problema con tocarse al bailar, lo cual en <em>Cabaret<\/em> es muy importante, por ejemplo; pero s\u00ed les dije: \u00abquiero que os sint\u00e1is libres, pero sin caer en lo vulgar\u00bb. Lo entendieron enseguida y eso para m\u00ed es fant\u00e1stico.<\/p>\n<\/blockquote>\n<p style=\"text-align: left;\">En <strong><a href=\"https:\/\/www.letsgocompany.com\/es\/cabaret-la-revolucion-inmersiva-del-teatro-musical\/\"><em>Cabaret<\/em><\/a><\/strong>, la coreograf\u00eda debe transmitir la decadencia, la sensualidad y el peligro del club, integr\u00e1ndose con el p\u00fablico y la narrativa. Cada movimiento de los bailarines-actores se convierte en extensi\u00f3n de la historia, reforzando la sensaci\u00f3n de inmersi\u00f3n. No hay solamente un patio de butacas al cual mirar de frente; parte del p\u00fablico est\u00e1 en el escenario y son personas espec\u00edficas las que reciben la interacci\u00f3n de los bailarines-actores. Como explica Bruce:<\/p>\n<blockquote>\n<p style=\"text-align: left;\">En la sala de ensayos probamos a ver <strong><a href=\"https:\/\/www.letsgocompany.com\/es\/cabaret-la-revolucion-inmersiva-del-teatro-musical\/\"><em>Cabaret<\/em> <\/a><\/strong>desde una perspectiva diferente. All\u00ed tenemos parte del set y probamos a sentarnos en diferentes sitios, ves un show distinto cada vez.<\/p>\n<p style=\"text-align: left;\">El espectador no va a solo mirar, estar\u00e1 dentro de la historia. <strong><a href=\"https:\/\/www.letsgocompany.com\/es\/cabaret-la-revolucion-inmersiva-del-teatro-musical\/\"><em>Cabaret<\/em> <\/a><\/strong>no es solo diversi\u00f3n, es como un golpe en el coraz\u00f3n. Vives todo el drama con el elenco. Es incre\u00edble c\u00f3mo este espect\u00e1culo resulta tan actual que da miedo. No aprendemos de nuestros errores.<\/p>\n<\/blockquote>\n<p style=\"text-align: left;\">Por su parte, <strong><a href=\"https:\/\/tickets.oneboxtds.com\/teatro-calderon\/events\/45581?sessionView=LIST\"><em>Houdini<\/em> <\/a><\/strong>plantea otro tipo de reto: el ilusionismo y la danza deben coexistir sin que uno eclipse al otro. Aqu\u00ed, la coreograf\u00eda se subordina al protagonista y al mundo de la magia, pero sigue formando parte del relato, ayudando a crear atm\u00f3sferas y a comunicar la tragedia y los desaf\u00edos del personaje principal.<\/p>\n<blockquote>\n<p style=\"text-align: left;\">Es una \u00e9poca donde estaba el Can Can, el Charleston, tap\u2026 todos forman parte del show que est\u00e1 haciendo Houdini, por lo que la coreograf\u00eda tiene que dar un paso atr\u00e1s.<\/p>\n<\/blockquote>\n<p style=\"text-align: left;\">Todo se sostiene sobre el <strong>timing preciso<\/strong> que exige tanto la danza como los efectos m\u00e1gicos.<\/p>\n<blockquote>\n<p style=\"text-align: left;\">Si los bailarines hacen algo que no est\u00e9 en sinton\u00eda con lo que Houdini hace, le quitan la magia al acto. Todo el tiempo, la coreograf\u00eda apoya y engrandece lo que \u00e9l hace.<\/p>\n<\/blockquote>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-5889 size-full\" src=\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/09\/IMG-03.jpg\" alt=\"\" width=\"1440\" height=\"460\" srcset=\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/09\/IMG-03.jpg 1440w, https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/09\/IMG-03-1280x409.jpg 1280w, https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/09\/IMG-03-980x313.jpg 980w, https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/09\/IMG-03-480x153.jpg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) and (max-width: 980px) 980px, (min-width: 981px) and (max-width: 1280px) 1280px, (min-width: 1281px) 1440px, 100vw\" \/><\/p>\n<p>Foto: LETSGO. Producci\u00f3n: <i>Charlie y la F\u00e1brica de Chocolate<\/i>. Coreograf\u00eda: Gillian Bruce.<\/p>\n<p>&nbsp;<\/p>\n<h4 style=\"text-align: left;\"><strong>Visi\u00f3n de futuro<\/strong><\/h4>\n<p style=\"text-align: left;\">M\u00e1s all\u00e1 del escenario, Bruce tiene otra profesi\u00f3n: formar a la nueva generaci\u00f3n de bailarines y core\u00f3grafos. La ense\u00f1anza y la transmisi\u00f3n del conocimiento son, para ella, otro modo de extender la capacidad narrativa de la danza:<\/p>\n<blockquote>\n<p style=\"text-align: left;\">Cuando tengo tiempo ense\u00f1o tambi\u00e9n. Me encanta trabajar con talentos j\u00f3venes. Hay una academia muy importante en Italia, la Bernstein School of Musical Theater, y ense\u00f1o ah\u00ed a menudo.<\/p>\n<\/blockquote>\n<p style=\"text-align: left;\">El tap es otra de sus pasiones. Ha fundado I Tappers en Italia y lo entiende no solo como estilo, sino como veh\u00edculo de creatividad y fusi\u00f3n cultural:<\/p>\n<blockquote>\n<p style=\"text-align: left;\">Amo el tap, estoy especializada en ello. Tengo muchos disc\u00edpulos; de hecho, uno se ha convertido en campe\u00f3n del mundo. Me encanta ense\u00f1ar tap porque ha evolucionado mucho; ya no es solo Fred Astaire, por ello me fascina fusionarlo con otros estilos m\u00e1s modernos como el <em>hoofing<\/em>.<\/p>\n<p style=\"text-align: left;\">Siempre que vengo a Madrid voy a ver flamenco, creo que un show que fusione tap y flamenco ser\u00eda muy interesante.<\/p>\n<\/blockquote>\n<p style=\"text-align: left;\">Para quienes piensan en dedicarse al teatro musical desde la danza o la coreograf\u00eda, Bruce tiene un mensaje que prioriza la formaci\u00f3n y la disciplina. No basta con ser un buen bailar\u00edn, int\u00e9rprete o cantante; hay que dominar los tres para crear musical de alto nivel:<\/p>\n<blockquote>\n<p style=\"text-align: left;\">Que estudien. Mucha gente joven no se toma el tiempo de estudiar todo lo necesario. Antes de convertirme en core\u00f3grafa estudi\u00e9 much\u00edsimo y hoy lo que soy es debido a ese aprendizaje. La base te la da el estudio, y el verdadero crecimiento se hace sobre el escenario.<\/p>\n<\/blockquote>\n<p style=\"text-align: left;\">Finalmente, su mirada se proyecta hacia el futuro del g\u00e9nero: la danza seguir\u00e1 evolucionando dentro de los musicales, especialmente en formatos inmersivos que aporten <strong>nuevas experiencias al p\u00fablico<\/strong>, pero siempre respetando guion y \u00e9poca de la obra:<\/p>\n<blockquote>\n<p style=\"text-align: left;\">Creo que el formato inmersivo ser\u00e1 muy popular porque le aporta al p\u00fablico algo extra. No me gustan los shows que cambian por completo el guion; se puede hacer m\u00e1s fresco y joven, pero siempre debe respetarse la historia y la \u00e9poca.<\/p>\n<\/blockquote>\n<p style=\"text-align: left;\">Si algo sabemos con certeza es que el teatro musical evoluciona y los formatos cambian; sin embargo, para Gillian Bruce la esencia se mantiene: la coreograf\u00eda seguir\u00e1 yendo de la mano de la historia.<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: right;\">Por La Pluma de LETSGO, Claudia P\u00e9rez Carbonell, a 9 de septiembre de 2025<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><span data-ccp-props=\"{}\">\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Una conversaci\u00f3n sobre el guion como punto de partida, el espacio como eje y la danza como lenguaje narrativo en el musical. &nbsp; Showreel de trayectoria. Material cedido por Gillian Bruce. &nbsp; &nbsp; El core\u00f3grafo logra meter las yemas de los dedos en la tierra donde no hay nombres para nada. &nbsp; La danza: entre [&hellip;]<\/p>\n","protected":false},"author":12,"featured_media":5880,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"off","_et_pb_old_content":"<p>[et_pb_section][et_pb_row][et_pb_column type=\"4_4\"][et_pb_text]<\/p><h3 style=\"text-align: left;\">We sat down with Valerio Tiberi to talk about creativity and technique in stage lighting.<\/h3><p>\u00a0<\/p><blockquote><p style=\"text-align: right;\">Theatre (\u2026) is the only place where you can rediscover darkness.<\/p><\/blockquote><p>\u00a0<\/p><p style=\"text-align: left;\">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 <strong><a href=\"https:\/\/musicalelfantasmadelaopera.com\/\"><em>The Phantom of the Opera<\/em><\/a><\/strong>, <strong><a href=\"https:\/\/www.kitkatklubcabaret.com\/\"><em>Cabaret<\/em><\/a><\/strong>, or <em>West Side Story<\/em>; ballet (<em>A Thousand Tales<\/em>, <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><p style=\"text-align: left;\">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><img class=\"alignnone wp-image-5084 size-full\" src=\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/07\/LG-BLOG_ENTREVISTA-VALERIO.jpg\" alt=\"\" width=\"1440\" height=\"460\" \/><\/p><p>\u00a0<\/p><h4 style=\"text-align: left;\"><strong>The challenge of lighting a classic<\/strong><\/h4><p style=\"text-align: left;\">Tiberi recalls that his relationship with LETSGO dates back at least to 2016, when they produced <em>Dirty Dancing<\/em> in Spain for the first time:<\/p><blockquote><p style=\"text-align: left;\">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 <em><strong><a href=\"https:\/\/www.letsgocompany.com\/es\/nuevo-destino-desbloqueado-aterrizamos-en-mexico-con-el-fantasma-de-la-opera\/\">The Phantom of the Opera<\/a><\/strong><\/em>.<\/p><\/blockquote><p style=\"text-align: left;\">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 <em>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><blockquote><p style=\"text-align: left;\">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><img class=\"alignnone wp-image-5090 size-full\" src=\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/07\/LG-BLOG_ENTREVISTA-VALERIO_2.jpg\" alt=\"\" width=\"1440\" height=\"460\" \/><\/p><p style=\"text-align: left;\">Lighting design by Valerio Tiberi for <em>The Phantom of the Opera<\/em> (Madrid production). Photo: LETSGO.<\/p><p>\u00a0<\/p><p style=\"text-align: left;\">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><blockquote><p style=\"text-align: left;\">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><p style=\"text-align: left;\">An artist\u2019s greatness often lies in their versatility. <strong><a href=\"https:\/\/www.letsgocompany.com\/es\/cabaret-llega-a-madrid-quien-se-atreve-a-bailar-mientras-el-mundo-se-rompe\/\"><em>Cabaret<\/em> <\/a><\/strong>is a whole different beast \u2014but naturally, Tiberi embraces the challenge:<\/p><blockquote><p style=\"text-align: left;\">In <em>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 <em>Phantom<\/em>, it was hidden. The audience didn\u2019t see it. In <em>Cabaret<\/em>, the lighting is part of the set. Everyone will see it.<\/p><\/blockquote><p>\u00a0<\/p><h4 style=\"text-align: left;\"><strong>Thinking like the audience<\/strong><\/h4><p style=\"text-align: left;\">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><p style=\"text-align: left;\">Tiberi is clear: the key is thinking like the audience. In the end, it all comes back to emotion and to human reaction:<\/p><blockquote><p style=\"text-align: left;\">There\u2019s no one rule. I adapt to each situation. For example, with <em>Cabaret<\/em>, I started from the tools: I knew I needed dynamic, effect-driven lighting. In <em>Phantom<\/em>, it was the opposite: storytelling was my starting point.<br \/>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><img class=\"alignnone wp-image-5099 size-full\" src=\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/07\/LG-BLOG_ENTREVISTA-VALERIO_4.jpg\" alt=\"\" width=\"1440\" height=\"460\" \/><\/p><p style=\"text-align: left;\">Custom Gobos used on <em>The Phantom of the Opera<\/em>. Courtesy of Valerio Tiberi.<\/p><h4>\u00a0<\/h4><p>\u00a0<\/p><h4 style=\"text-align: left;\"><strong>Rediscovering darkness<\/strong><\/h4><p style=\"text-align: left;\">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><blockquote><p style=\"text-align: left;\">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><p style=\"text-align: left;\"><em>\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><p>\u00a0<\/p><h4 style=\"text-align: left;\"><strong>Can AI understand theatre?<\/strong><\/h4><p style=\"text-align: left;\">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><blockquote><p style=\"text-align: left;\">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.<br \/>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><p style=\"text-align: left;\">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><blockquote><p style=\"text-align: left;\">In <a href=\"https:\/\/www.houdinielmusical.com\/\"><strong><em>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><img class=\"alignnone wp-image-5096 size-full\" src=\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/07\/LG-BLOG_ENTREVISTA-VALERIO_4-2.jpg\" alt=\"\" width=\"1440\" height=\"460\" \/><\/p><p style=\"text-align: left;\">Lighting design by Valerio Tiberi for <strong><em><a href=\"https:\/\/www.letsgocompany.com\/es\/houdini-un-musical-magico-mas-alla-del-mito-y-la-cancion\/\">Houdini<\/a> <\/em><\/strong>(Italy production).<\/p><p>\u00a0<\/p><h4 style=\"text-align: left;\"><strong>Being a designer today: the power of active experience<\/strong><\/h4><p style=\"text-align: left;\">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><blockquote><p style=\"text-align: left;\">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><p style=\"text-align: left;\">On his experience teaching at the Accademia Teatro alla Scala, he adds:<\/p><blockquote><p style=\"text-align: left;\">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><img class=\"alignnone wp-image-5102 size-full\" src=\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/07\/LG-BLOG_ENTREVISTA-VALERIO_6.jpg\" alt=\"\" width=\"1440\" height=\"460\" \/><\/p><p style=\"text-align: left;\">Color List used for the lighting design (left) and Designer\u2019s magic sheet (right), both used on <em>The Phantom of the Opera<\/em>. Courtesy of Valerio Tiberi.<\/p><p>\u00a0<\/p><h4 style=\"text-align: left;\"><strong>Fashion vs. Theatre: two worlds, two timeframes<\/strong><\/h4><p style=\"text-align: left;\">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><blockquote><p style=\"text-align: left;\">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.<br \/>It may not sound like much, but it\u2019s a massive job, with last-minute changes, contradictory decisions\u2026 sometimes the day before.<br \/>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.<br \/>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><p>\u00a0<\/p><h4 style=\"text-align: left;\"><strong>The emotional impact of light<\/strong><\/h4><p style=\"text-align: left;\">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><img class=\"alignnone wp-image-5087 size-full\" src=\"https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2025\/07\/LG-BLOG_ENTREVISTA-VALERIO_1.jpg\" alt=\"\" width=\"1440\" height=\"460\" \/><\/p><p style=\"text-align: left;\">Lighting design by Valerio Tiberi for <em>Natura Encesa <\/em>(Barcelona production). Photo: LETSGO.<\/p><p style=\"text-align: left;\"><em>\u00a0<\/em><\/p><blockquote><p style=\"text-align: left;\">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><p style=\"text-align: left;\">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 <em>Phantom<\/em>, but for unrelated reasons. Still, he went back to the Alb\u00e9niz to see the show again:<\/p><blockquote><p style=\"text-align: left;\">I was crying the whole time. After a year\u2026 it made me cry. When that happens, it\u2019s a good thing.<\/p><\/blockquote><p>\u00a0<\/p><p style=\"text-align: right;\"><span class=\"TextRun SCXW2194258 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW2194258 BCX0\">By<\/span><span class=\"NormalTextRun SCXW2194258 BCX0\"> The<\/span><span class=\"NormalTextRun SCXW2194258 BCX0\"> LETSGO<\/span><span class=\"NormalTextRun SCXW2194258 BCX0\"> Pen<\/span><span class=\"NormalTextRun SCXW2194258 BCX0\">,<\/span> <span class=\"NormalTextRun SCXW2194258 BCX0\">Claudia P\u00e9rez Carbonell,<\/span><span class=\"NormalTextRun SCXW2194258 BCX0\"> on <\/span><span class=\"NormalTextRun SCXW2194258 BCX0\">July 15th<\/span><span class=\"NormalTextRun SCXW2194258 BCX0\">, 2025<\/span><\/span><span class=\"EOP SCXW2194258 BCX0\" data-ccp-props=\"{\"335551550\":3,\"335551620\":3}\">\u00a0<\/span><\/p><p><span class=\"TextRun SCXW211959452 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW211959452 BCX0\">\u00a0<\/span><\/span><\/p><p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>","_et_gb_content_width":"","footnotes":""},"categories":[73],"tags":[],"class_list":["post-5868","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-behind-the-scenes-es"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.0 - 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