{"id":7215,"date":"2025-12-22T13:03:40","date_gmt":"2025-12-22T12:03:40","guid":{"rendered":"https:\/\/www.letsgocompany.com\/?p=7215"},"modified":"2025-12-22T13:14:14","modified_gmt":"2025-12-22T12:14:14","slug":"el-hogar-como-fantasia-mago-de-oz","status":"publish","type":"post","link":"https:\/\/www.letsgocompany.com\/es\/el-hogar-como-fantasia-mago-de-oz\/","title":{"rendered":"El hogar como verdadera fantas\u00eda en El Mago de Oz"},"content":{"rendered":"

Un viaje emocional entre identidad, pertenencia y memoria<\/h3>\n

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Cuando Dorothy es arrancada de su hogar en El Mago de Oz<\/em><\/a><\/span>, comienza un viaje que va m\u00e1s all\u00e1 de la aventura: es un ciclo evolutivo que refleja nuestra relaci\u00f3n con el hogar a lo largo de la vida. En su b\u00fasqueda de una \u00abvida mejor\u00bb, Dorothy recorre caminos, enfrenta desaf\u00edos y conoce compa\u00f1eros de viaje, pero es justamente ese trayecto el que incide directamente en su comprensi\u00f3n de lo que realmente importa: el hogar no es solo un lugar f\u00edsico, sino un espacio seguro, identitario y lleno de significado. Al final, su expresi\u00f3n \u00ab<\/em>No hay lugar como el hogar\u00bb<\/em> sintetiza una conciencia adquirida a trav\u00e9s de la experiencia y del descubrimiento.<\/p>\n

Desde la psicolog\u00eda y la sociolog\u00eda, el hogar se percibe de manera similar: m\u00e1s que paredes o muebles, es un espacio emocional enmarcado por personas significativas y por los objetos que forman parte de nuestra memoria y nuestra infancia. Es all\u00ed donde se construye la sensaci\u00f3n de pertenencia, se estimula la creatividad y se forjan recuerdos que dan continuidad a nuestra identidad. Estudios muestran que los entornos percibidos como seguros fomentan la curiosidad y la exploraci\u00f3n en la infancia, y en la adultez contribuyen al bienestar emocional y la resiliencia.<\/p>\n

Sin embargo, esa percepci\u00f3n del hogar no es est\u00e1tica. A lo largo de la vida, la idea de \u00abcasa\u00bb se transforma: deja de ser exclusivamente el lugar de la infancia para convertirse en una construcci\u00f3n m\u00e1s flexible, marcada por experiencias, v\u00ednculos y elecciones personales. En la adultez, el hogar puede ser una persona, una rutina, una ciudad o incluso una sensaci\u00f3n de estabilidad m\u00e1s que un espacio concreto. Esta evoluci\u00f3n explica por qu\u00e9 la noci\u00f3n de hogar est\u00e1 tan vinculada a la experiencia y a la memoria, y por qu\u00e9 su significado se redefine constantemente.<\/p>\n

De esta percepci\u00f3n surgen tambi\u00e9n construcciones sociales como la Navidad, cuyo discurso gira en torno a los valores de la familia, la cercan\u00eda y la transmisi\u00f3n de tradiciones. La magia de estas fechas se entiende, en gran parte, como la revalorizaci\u00f3n de un espacio que evoluciona con nosotros: los objetos cambian, los rituales se modifican, los miembros de la familia crecen y aparecen nuevas din\u00e1micas, pero el hogar sigue siendo el escenario central donde se experimenta afecto, seguridad y creatividad.<\/p>\n

Conviene, sin embargo, no idealizar el concepto de hogar. No todos los espacios familiares son seguros ni todas las infancias est\u00e1n marcadas por la estabilidad. Precisamente por eso, la fantas\u00eda cumple tambi\u00e9n una funci\u00f3n compensatoria: permite imaginar, proyectar y, en muchos casos, reconstruir una idea de hogar cuando la experiencia real no ha sido suficiente. En este sentido, El Mago de Oz<\/em><\/a><\/span> no solo celebra el regreso, sino la necesidad de redefinir qu\u00e9 entendemos por casa y por pertenencia.<\/p>\n

El factor experiencial es, por tanto, clave: como Dorothy, necesitamos atravesar caminos y aprender a valorar lo que tenemos para reconocer que la verdadera magia reside en aquello que cada uno entiende como su hogar. Los viajes, reales o imaginarios, nos permiten redescubrir la importancia de lo cercano y cotidiano, transformando lo ordinario en extraordinario. Por eso, la Navidad puede ser un momento ideal para reconectar con ese hogar como espacio de fantas\u00eda, donde cada gesto, cada ritual y cada objeto cuenta una historia que nos pertenece y nos define.<\/p>\n

Estas navidades, en Bilbao, el musical de El Mago de Oz<\/em><\/a><\/span> ofrece una oportunidad de vivir esta reflexi\u00f3n en primera persona: recrea la sensaci\u00f3n de hogar-fant\u00e1stico, la combinaci\u00f3n de familiaridad y asombro que Dorothy descubre en su viaje, y nos recuerda que la fantas\u00eda no siempre exige partir; a veces, solo mirar con atenci\u00f3n lo que ya nos rodea.<\/p>\n

Porque, como concluye Dorothy: \u00ab<\/em>Realmente no hay lugar como el hogar\u00bb.<\/p>\n

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Por La Pluma de LETSGO, Claudia P\u00e9rez Carbonell, a 22 de diciembre de 2025<\/p>\n

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Un viaje emocional entre identidad, pertenencia y memoria     Cuando Dorothy es arrancada de su hogar en El Mago de Oz, comienza un viaje que va m\u00e1s all\u00e1 de la aventura: es un ciclo evolutivo que refleja nuestra relaci\u00f3n con el hogar a lo largo de la vida. En su b\u00fasqueda de una \u00abvida […]<\/p>\n","protected":false},"author":12,"featured_media":7225,"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>

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