{"id":5987,"date":"2025-09-16T09:54:35","date_gmt":"2025-09-16T07:54:35","guid":{"rendered":"https:\/\/www.letsgocompany.com\/?p=5987"},"modified":"2025-09-16T09:54:35","modified_gmt":"2025-09-16T07:54:35","slug":"houdini-descifrando-un-mito-terriblemente-contemporaneo","status":"publish","type":"post","link":"https:\/\/www.letsgocompany.com\/es\/houdini-descifrando-un-mito-terriblemente-contemporaneo\/","title":{"rendered":"Houdini: descifrando un mito terriblemente contempor\u00e1neo"},"content":{"rendered":"

\u00bfCu\u00e1n actuales resultan los demonios de Harry Houdini? El nuevo musical invita a reflexionar sobre \u00e9xito, egocentrismo y escapismo emocional.<\/h3>\n

 <\/p>\n

Harry Houdini fue el hombre que sac\u00f3 la magia de las calles para convertirla en espect\u00e1culo. La nueva producci\u00f3n que gira en torno a su vida se desarrolla, sobre todo, en un teatro vac\u00edo y en ruinas. Federico Bellone \u2014autor y director del musical\u2014 insiste en que no es solo un recurso est\u00e9tico: ese espacio deteriorado es la met\u00e1fora de un \u00e9xito agotado, de un modelo de espect\u00e1culo \u2014el vaudeville<\/em>\u2014 que en los a\u00f1os veinte empezaba a mostrar signos de decadencia. En paralelo, la carrera del propio Houdini atravesaba la misma curva descendente. La elecci\u00f3n escenogr\u00e1fica, por tanto, funciona como una declaraci\u00f3n: el musical no pretende retratar \u00fanicamente al escapista m\u00edtico, sino tambi\u00e9n el desgaste que acompa\u00f1a a quien vive obsesionado con ser el primero.<\/p>\n

Entonces, surge una de las cuestiones centrales de su historia que resuena todav\u00eda hoy:<\/p>\n

\u00bfQu\u00e9 entendemos por \u00e9xito? \u00bfExiste realmente o es una construcci\u00f3n vinculada a la necesidad contempor\u00e1nea de reconocimiento? <\/strong><\/p>\n

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Houdini: anatom\u00eda del \u00e9xito moderno <\/strong><\/h4>\n

Alain de Botton (2004) sostiene que el \u00e9xito est\u00e1 irremediablemente ligado al estatus y a la comparaci\u00f3n con los dem\u00e1s: nunca es absoluto, siempre es relativo. En esa l\u00f3gica, Houdini encarnaba ya rasgos psicosociales de nuestro tiempo. Padeci\u00f3 una obsesi\u00f3n con la visibilidad y la notoriedad, un desapego emocional que hac\u00eda dif\u00edcil sostener v\u00ednculos duraderos y un egocentrismo que convert\u00eda cada cartel con su nombre en una extensi\u00f3n de s\u00ed mismo.<\/p>\n

Esa misma obsesi\u00f3n repica hoy en fen\u00f3menos como la hiperproductividad, muy ligada a la persecuci\u00f3n del \u00e9xito, y la culpa ante el descanso. Bellone lo reconoce sin rodeos:<\/p>\n

\n

A d\u00eda de hoy pasa muchas veces (\u2026), que las personas de \u00e9xito tienen esta lucha interna por hacer las cosas m\u00e1s incre\u00edbles. Es como si no trabajar dos minutos llevase un sentido de culpa que no es normal.<\/p>\n

Los humanos no estamos hechos para trabajar todo el d\u00eda y toda la noche, pero eso es lo que pasa hoy, especialmente con las redes sociales, con el tel\u00e9fono. El otro d\u00eda estuve un rato al sol y pens\u00e9 \u00abay, no estoy trabajando, esto no est\u00e1 bien\u00bb.<\/p>\n<\/blockquote>\n

Byung-Chul Han (2010) reflexiona sobre esta cuesti\u00f3n en La sociedad del cansancio<\/em>: el sujeto contempor\u00e1neo no est\u00e1 oprimido por un amo externo, sino por s\u00ed mismo. La sociedad del rendimiento transforma la exigencia en autoexigencia y padece de una falsa libertad. En ese marco, el descanso se percibe como una traici\u00f3n y la productividad como la \u00fanica v\u00eda de legitimaci\u00f3n.<\/p>\n

Todo esto permite leer la vida de Houdini bajo otra luz. No solo era un escapista extraordinario, sino tambi\u00e9n un reflejo extremo de la obsesi\u00f3n moderna con el rendimiento y la visibilidad. Como se\u00f1ala Han, el \u00e9xito contempor\u00e1neo encadena m\u00e1s que libera, y de Botton recuerda que siempre es relativo: nunca se alcanza plenamente, siempre hay alguien con quien compararse. Los medios han cambiado, pero esa l\u00f3gica de la obsesi\u00f3n, la autoexplotaci\u00f3n y la visibilidad nos alcanza fuertemente hasta hoy.<\/p>\n

 <\/p>\n

El egocentrismo dentro y fuera de escena<\/strong><\/h4>\n

Las redes sociales son el escenario natural del egocentrismo contempor\u00e1neo. Houdini, un siglo antes, ya hab\u00eda entendido la l\u00f3gica y convirti\u00f3 su propio nombre en marca mucho antes de que existiera Instagram: su rostro y sus letras gigantes inundaban teatros y peri\u00f3dicos, recordando que el espect\u00e1culo era \u00e9l mismo. En escena, el teatro vac\u00edo y los carteles se convierten as\u00ed en un s\u00edmbolo de su personalidad.<\/p>\n

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La diferencia est\u00e1 en la finalidad. Mientras el escapista explotaba su imagen para llenar butacas, la autopromoci\u00f3n actual persigue la visibilidad como fin en s\u00ed mismo. La validaci\u00f3n personal se mide en la mirada ajena. Esa l\u00f3gica la anticip\u00f3 Feuerbach en el siglo XIX, cuando advert\u00eda que la modernidad prefiere la apariencia a la realidad, la representaci\u00f3n al ser, hasta el punto de considerar sagrada la ilusi\u00f3n y profana la verdad.<\/p>\n

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Escapismo emocional: el \u00abs\u00edndrome de Houdini\u00bb<\/strong><\/h4>\n

Algunos psic\u00f3logos han trazado un paralelismo llamativo entre el mago y nuestra sociedad. Si \u00e9l escapaba de cadenas, esposas y tanques de agua bajo la mirada fascinada del p\u00fablico, hoy la huida m\u00e1s habitual ocurre en silencio y fuera del escenario: escapar de los v\u00ednculos, de la incomodidad, de la confrontaci\u00f3n.<\/p>\n

En ese sentido, el llamado \u00abs\u00edndrome de Houdini\u00bb funciona como met\u00e1fora del desapego afectivo contempor\u00e1neo: la tendencia a desaparecer cuando una relaci\u00f3n emocional se vuelve demasiado seria o demandante.
\nEl eco con fen\u00f3menos actuales como el ghosting<\/em> es evidente: la evasi\u00f3n se convierte en una estrategia para preservar la propia imagen, el control o la ilusi\u00f3n de libertad, aunque el coste sea la ruptura abrupta de los lazos. Desaparecer sin dejar rastro es definitivamente una nueva forma de poder vinculada a un aura anhelada de misterio.<\/p>\n

Esa herencia de contradicciones \u2014\u00e9xito y decadencia, visibilidad y vac\u00edo, huida y deseo de permanencia\u2014 estructura tambi\u00e9n el nuevo Houdini: Un musical m\u00e1gico<\/em><\/strong><\/a>. Bellone y su equipo han querido humanizar el mito, mostrando que detr\u00e1s del espect\u00e1culo y de la perfecci\u00f3n aparente hay tensiones universales: ambici\u00f3n, miedo, soledad. Esa proximidad har\u00e1 que la identificaci\u00f3n del p\u00fablico con los dilemas del mago sea inmediata y profunda.<\/p>\n

 <\/p>\n

Houdini a trav\u00e9s de la luz, el espacio y la m\u00fasica<\/strong><\/h4>\n

Como ya hemos adelantado, en el musical los elementos t\u00e9cnicos y escenogr\u00e1ficos respaldan la construcci\u00f3n psicol\u00f3gica de Houdini. La iluminaci\u00f3n, dise\u00f1ada por Valerio Tiberi<\/strong><\/a>, es otro de los recursos clave tanto en la caracterizaci\u00f3n del personaje como en la percepci\u00f3n de la magia por el p\u00fablico. Al respecto, menciona Federico Bellone:<\/p>\n

\n

La iluminaci\u00f3n es muy real. Queremos que el p\u00fablico perciba un punto de gran verosimilitud, porque la magia en un lugar real tiene mucho m\u00e1s impacto. Cuando hay muchos telones o escenograf\u00eda que parece falsa, es normal que el p\u00fablico piense que hay alguien en cada rinc\u00f3n del escenario.<\/p>\n

Sin embargo, cuando un personaje o incluso un elefante (como tenemos en este espect\u00e1culo) aparece en un teatro completamente vac\u00edo, donde se ven los muros de estos teatros americanos con ladrillos y carteles desgastados, el efecto de magia es mucho m\u00e1s impactante, porque es imposible imaginar de d\u00f3nde viene. La iluminaci\u00f3n tiene un punto vintage<\/em>, propio de la \u00e9poca del teatro de variedades estadounidense, pero tambi\u00e9n transmite una gran sensaci\u00f3n de realidad.<\/p>\n

(\u2026)<\/p>\n

Houdini<\/em> <\/a><\/strong>es diferente [en comparaci\u00f3n con El Fantasma de la \u00d3pera<\/em><\/a><\/strong>]: m\u00e1s emocional. Detr\u00e1s de un tel\u00f3n de gasa se pueden descubrir espacios mucho m\u00e1s humanos. No quiero decir que sea intelectual, pero s\u00ed m\u00e1s personal.<\/p>\n<\/blockquote>\n

 <\/p>\n

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 <\/p>\n

La combinaci\u00f3n de luz y espacio permite que el p\u00fablico experimente la tensi\u00f3n entre grandiosidad y fragilidad, entre la necesidad de brillar y la soledad del personaje.<\/p>\n

Por otro lado, la m\u00fasica ofrece tambi\u00e9n un contrapunto entre la espectacularidad y la intimidad de Houdini. Compuesta por Giovanni Maria Lori, rinde homenaje al teatro de Broadway e incorpora un matiz h\u00fangaro \u2014Houdini naci\u00f3 en Budapest y emigr\u00f3 a Estados Unidos con cuatro a\u00f1os\u2014. Las canciones reflejan el teatro y el baile de la \u00e9poca, con n\u00fameros de claqu\u00e9, charleston, Can Can y el giro r\u00edtmico de la cs\u00e1rd\u00e1s h\u00fangara.<\/p>\n

Bellone identifica como alma del espect\u00e1culo la canci\u00f3n The Greatest Magic Man<\/em>:<\/p>\n

\n

Mezcla Broadway y cs\u00e1rd\u00e1s<\/em> h\u00fangara. Describe c\u00f3mo Houdini, incluso con fiebre, estaba obsesionado con el trabajo y con ser el primero en todo, un tema central del musical, \u2014explica.<\/p>\n<\/blockquote>\n

A lo largo de la obra, se percibe un intento de volver a lo m\u00e1s humano: un teatro desnudo, una iluminaci\u00f3n real, un Houdini despojado de ropaje en buena parte de las escenas, y una m\u00fasica que rescata sus ra\u00edces y las eleva al espect\u00e1culo. Todo ello transforma la grandiosidad del mito en una experiencia cercana y reconocible, cerrando el c\u00edrculo entre el espect\u00e1culo y la vulnerabilidad que lo hace contempor\u00e1neo.<\/p>\n

 <\/p>\n

Por La Pluma de LETSGO, Claudia P\u00e9rez Carbonell, a 16 de septiembre de 2025<\/p>\n

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 <\/p>\n

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

\u00bfCu\u00e1n actuales resultan los demonios de Harry Houdini? El nuevo musical invita a reflexionar sobre \u00e9xito, egocentrismo y escapismo emocional.   Harry Houdini fue el hombre que sac\u00f3 la magia de las calles para convertirla en espect\u00e1culo. La nueva producci\u00f3n que gira en torno a su vida se desarrolla, sobre todo, en un teatro vac\u00edo […]<\/p>\n","protected":false},"author":12,"featured_media":5999,"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>

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

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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>

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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>

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

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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>

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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>

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

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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>

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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>

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

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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>

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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>

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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>

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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>

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

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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>

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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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