{"id":7245,"date":"2026-01-08T10:23:16","date_gmt":"2026-01-08T09:23:16","guid":{"rendered":"https:\/\/www.letsgocompany.com\/?p=7245"},"modified":"2026-01-09T09:02:33","modified_gmt":"2026-01-09T08:02:33","slug":"jurassic-world-the-experience-madrid-detalles","status":"publish","type":"post","link":"https:\/\/www.letsgocompany.com\/es\/jurassic-world-the-experience-madrid-detalles\/","title":{"rendered":"7 cosas que puedes estarte perdiendo de Jurassic World: The Experience"},"content":{"rendered":"

Esto es lo que podr\u00edas estar dejando pasar en Jurassic World: The Experience<\/em>.<\/h3>\n

 <\/p>\n

Hay experiencias que se recuerdan por lo que muestran y otras por lo que activan. Jurassic World: The Experience<\/em> pertenece a la segunda categor\u00eda. No porque ense\u00f1e dinosaurios a escala real, que tambi\u00e9n, sino porque durante algo m\u00e1s de una hora te coloca en un estado extra\u00f1o: alerta, curiosidad, juego y miedo controlado.<\/p>\n

\u00bfQu\u00e9 ocurre si no lo has vivido? Significa no haber estado en un espacio dise\u00f1ado para activar reacciones f\u00edsicas, colectivas y emocionales que no se reproducen desde fuera. Mientras avanzamos ya hacia el 1 de febrero (fin de la experiencia en Madrid), estas son algunas de las cosas que podr\u00edas estar dejando pasar sin saberlo.<\/p>\n

 <\/p>\n

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 <\/p>\n

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  1. La sensaci\u00f3n de escala real<\/strong><\/li>\n<\/ol>\n

    No es una cuesti\u00f3n de realismo, sino de proporci\u00f3n. Estar frente a criaturas que ocupan m\u00e1s espacio que t\u00fa altera la percepci\u00f3n y coloca al cuerpo en un lugar distinto. Antes de pensar \u00abqu\u00e9 impresionante\u00bb, calculas instintivamente el tama\u00f1o, la cercan\u00eda, la posible huida. La experiencia trabaja con esa reacci\u00f3n primaria que sobrepasa la observaci\u00f3n.<\/p>\n

    Los animatronics<\/em> combinan ingenier\u00eda, rob\u00f3tica y programaci\u00f3n de precisi\u00f3n para generar movimientos naturales que enga\u00f1an al ojo y al cuerpo.<\/p>\n

     <\/p>\n

      \n
    1. La tensi\u00f3n que se construye antes de que ocurra nada<\/strong><\/li>\n<\/ol>\n

      Una parte importante de la experiencia sucede cuando aparentemente no pasa nada. El sonido, la iluminaci\u00f3n y el silencio trabajan para generar expectativa. Si no entras, te pierdes ese tiempo suspendido donde el cuerpo reacciona antes que la cabeza.<\/p>\n

      Hay momentos en los que no ves nada y, sin embargo, sabes exactamente qu\u00e9 est\u00e1 ocurriendo. El sonido marca tensi\u00f3n, anticipa peligro y construye presencia incluso cuando el espacio parece vac\u00edo.<\/p>\n

       <\/p>\n

      \"\"<\/p>\n

       <\/p>\n

        \n
      1. Un miedo dise\u00f1ado para disfrutarse<\/strong><\/li>\n<\/ol>\n

        En la experiencia, el miedo no busca el sobresalto f\u00e1cil. Est\u00e1 medido, estructurado y narrativamente justificado. Desde fuera solo ves el resultado; dentro, entiendes el mecanismo.<\/p>\n

         <\/p>\n

          \n
        1. La posici\u00f3n inc\u00f3moda entre espectador y participante<\/strong><\/li>\n<\/ol>\n

          No miras desde la distancia, te mueves dentro de este universo. Esa posici\u00f3n intermedia es poco habitual y dif\u00edcil de explicar, pero es uno de los mayores aciertos del recorrido.<\/p>\n

          No act\u00faas, no decides la historia, pero tampoco la consumes desde fuera. Est\u00e1s dentro de un margen muy concreto: el del visitante que puede observar, reaccionar y moverse.<\/p>\n

           <\/p>\n

          \"\"<\/p>\n

           <\/p>\n

            \n
          1. Tecnolog\u00eda que convierte lo imposible en tangible<\/strong><\/li>\n<\/ol>\n

            M\u00e1s all\u00e1 de los animatronics<\/em>, la experiencia combina proyecciones, sensores, efectos de luz, sonido y mec\u00e1nica sincronizada. Cada detalle tiene un prop\u00f3sito narrativo. La tecnolog\u00eda funciona en silencio, pero determina c\u00f3mo el visitante percibe cada escena y reacciona ante cada est\u00edmulo.<\/p>\n

             <\/p>\n

              \n
            1. La dimensi\u00f3n colectiva de la experiencia<\/strong><\/li>\n<\/ol>\n

              El recorrido genera reacciones compartidas. Los silencios, risas y miradas entre desconocidos crean complicidad inmediata. La experiencia no es solo individual; est\u00e1 construida para un p\u00fablico que reacciona en conjunto, y esa interacci\u00f3n desaparece una vez fuera del recorrido.<\/p>\n

               <\/p>\n

              \"\"<\/p>\n

               <\/p>\n

                \n
              1. La sensaci\u00f3n de haber estado en otro espacio<\/strong><\/li>\n<\/ol>\n

                Salir del recorrido deja claro que el visitante ha ocupado un lugar distinto, con su propio tiempo y ritmo. Esa percepci\u00f3n f\u00edsica y emocional, consecuencia de la escala, la tensi\u00f3n y la tecnolog\u00eda, no puede replicarse ni recordarse con la misma intensidad despu\u00e9s de irse.<\/p>\n

                No ir a Jurassic World: The Experience<\/em> no significa perderse un espect\u00e1culo, sino una forma concreta de interacci\u00f3n entre cuerpo, espacio, narrativa y tecnolog\u00eda que solo puede vivirse en el recorrido. La experiencia termina el 1 de febrero: una vez cerrada, dejar\u00e1 de estar disponible de manera irreversible.<\/p>\n

                \u00bfTe lo vas a perder?<\/strong><\/p>\n

                 <\/p>\n

                Por La Pluma de LETSGO, Claudia P\u00e9rez Carbonell, a 9 de enero de 2026<\/p>\n

                 <\/p>\n

                 <\/p>\n

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

                Esto es lo que podr\u00edas estar dejando pasar en Jurassic World: The Experience.   Hay experiencias que se recuerdan por lo que muestran y otras por lo que activan. Jurassic World: The Experience pertenece a la segunda categor\u00eda. No porque ense\u00f1e dinosaurios a escala real, que tambi\u00e9n, sino porque durante algo m\u00e1s de una hora […]<\/p>\n","protected":false},"author":12,"featured_media":7280,"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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