SCENOGRAPHY
2024 FAUST / THE HURTING/ OPERA/ CZECH REPUBLIC
In this operatic vision of Faust, the stage becomes the interior of a human body—an anatomical cathedral of desire, decay, and redemption. Red threads stretch like arteries, entangling Faust in the vascular system of his own yearning. The opera opens with Faust as a weary intellect, trapped in the cold, blue-lit cortex of reason, craving sensation, warmth—blood.
Mephistopheles arrives not with fire, but like a virus slipping through synapses, whispering temptation into the folds of the brain. Their pact is a bypass surgery of the soul: Mephisto offers adrenaline, lust, and youth, rerouting Faust’s moral blood flow toward hedonistic ecstasy. Marguerite appears as the heart—pure, rhythmic, vulnerable—and Faust’s descent begins as he violates the sanctity of that organ.
The second act throbs with sensual excess: red fibers pulse, contract, and bind Faust to visceral pleasure, but the body begins to reject him. Guilt forms like tumors—silent, proliferating—until Marguerite, broken, sings from a prison shaped like a ribcage. Her aria is a heartbeat faltering under the weight of sin.
In the climax, Faust is dragged through his own intestines—filthy, winding regrets—facing the waste of his choices. The final confrontation with Mephisto takes place in the lungs, where Faust gasps for salvation, surrounded by red tendrils tightening like suffocation. A single note—Marguerite’s forgiveness—pierces the flesh of damnation.
The red threads unravel. Faust is expelled, like breath, into light. The opera closes not with triumph, but with an autopsy: the body laid bare, the soul dissected.
Mephistopheles arrives not with fire, but like a virus slipping through synapses, whispering temptation into the folds of the brain. Their pact is a bypass surgery of the soul: Mephisto offers adrenaline, lust, and youth, rerouting Faust’s moral blood flow toward hedonistic ecstasy. Marguerite appears as the heart—pure, rhythmic, vulnerable—and Faust’s descent begins as he violates the sanctity of that organ.
The second act throbs with sensual excess: red fibers pulse, contract, and bind Faust to visceral pleasure, but the body begins to reject him. Guilt forms like tumors—silent, proliferating—until Marguerite, broken, sings from a prison shaped like a ribcage. Her aria is a heartbeat faltering under the weight of sin.
In the climax, Faust is dragged through his own intestines—filthy, winding regrets—facing the waste of his choices. The final confrontation with Mephisto takes place in the lungs, where Faust gasps for salvation, surrounded by red tendrils tightening like suffocation. A single note—Marguerite’s forgiveness—pierces the flesh of damnation.
The red threads unravel. Faust is expelled, like breath, into light. The opera closes not with triumph, but with an autopsy: the body laid bare, the soul dissected.
2024 /Nucleus collective/ pluto is not a planet anymore/ Philadelphia
"Pluto Is Not a Planet Anymore" invites us into a cosmological parable — one that explores not just astronomy, but the fragile nature of classification, identity, and our place in the universe.
Inspired by the provocative insights of astrophysicist Neil deGrasse Tyson, this play dramatizes the scientific redefinition that stripped Pluto of its planetary title, transforming what seemed a sterile act of nomenclature into a deeply human story. Through allegory, dialogue, and celestial metaphor, we witness a confrontation between empirical truth and emotional attachment, between the precision of science and the poetry of memory.
As the characters orbit questions of worth, belonging, and authority, Pluto Is Not a Planet Anymore becomes a meditation on how knowledge evolves — and how we, in turn, must evolve with it. It is a theatrical voyage through the cosmos and the psyche alike, asking not only what lies beyond the stars, but what lies within us when the definitions we trusted begin to shift.
Inspired by the provocative insights of astrophysicist Neil deGrasse Tyson, this play dramatizes the scientific redefinition that stripped Pluto of its planetary title, transforming what seemed a sterile act of nomenclature into a deeply human story. Through allegory, dialogue, and celestial metaphor, we witness a confrontation between empirical truth and emotional attachment, between the precision of science and the poetry of memory.
As the characters orbit questions of worth, belonging, and authority, Pluto Is Not a Planet Anymore becomes a meditation on how knowledge evolves — and how we, in turn, must evolve with it. It is a theatrical voyage through the cosmos and the psyche alike, asking not only what lies beyond the stars, but what lies within us when the definitions we trusted begin to shift.
2024/SONNENSTURM/Scenography/Concept/Theater Chur /Schweiz/ESA Belgium
The theater collective Nucleus tells in its new play "Sonnensturm" about the formation process of the sun and explores the phenomenon of solar storms. For this, they are accompanied in their presentation by the Solar Orbiter from the European Space Agency (ESA) during its journey towards the sun. However, this should not only provide a scientific excursion but also stimulate much more humorously and entertainingly the audience's fascination for this theme.
Balla Pinx/ 2023/Direction Theater Neumarkt/ Switzerland
"balla pinx" is a visceral meditation on contrast, conflict, and the fragile threads of human connection. The play follows two diametrically opposed figures: one, a member of the narco underworld, driven by the pursuit of power, wealth, and dominance; the other, a Zen practitioner shaped by silence, discipline, and introspection. Between them lies a single object — a Swiss SIG P220 pistol — pointed daily at the monk in a ritual of psychological torture. Unbeknownst to the narco, the monk once wielded the same model during his time in the Swiss military. The bullet in the chamber becomes a symbol of both separation and possible recognition.
Directed by a Mexican–Swiss team and inspired by true events, BALLA PINX interrogates whether Buddhist philosophy can hold its ground amid systemic violence and spiritual collapse. In a time of dopamine addiction, digital warfare, and cultural polarization, the play offers a parable for a planet nearing existential burnout.
Following internal decisions made by Theater Neumarkt, the production was abruptly cancelled — without prior consultation with the artistic team — citing “artistic differences” in the wake of ongoing geopolitical conflicts. We note with concern that this action reflects a growing trend of institutional caution in the face of difficult subjects such as kidnapping, drug violence, and fractured human identity — realities lived daily by populations in over 70% of the world.
We stand firmly against censorship in the arts. To confront violence through art is not to glorify it — it is to understand its roots, its consequences, and its place in the human condition. BALLA PINXis not a provocation, but a necessary act of witness.
Directed by a Mexican–Swiss team and inspired by true events, BALLA PINX interrogates whether Buddhist philosophy can hold its ground amid systemic violence and spiritual collapse. In a time of dopamine addiction, digital warfare, and cultural polarization, the play offers a parable for a planet nearing existential burnout.
Following internal decisions made by Theater Neumarkt, the production was abruptly cancelled — without prior consultation with the artistic team — citing “artistic differences” in the wake of ongoing geopolitical conflicts. We note with concern that this action reflects a growing trend of institutional caution in the face of difficult subjects such as kidnapping, drug violence, and fractured human identity — realities lived daily by populations in over 70% of the world.
We stand firmly against censorship in the arts. To confront violence through art is not to glorify it — it is to understand its roots, its consequences, and its place in the human condition. BALLA PINXis not a provocation, but a necessary act of witness.
scene of narco coming with mr Pinx
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2023/ AS SOFT AS A HAMMER/ DIRECTION/ USA/ NY/ COVENANT THEATER
2022/ INES/INSTITUT NEUE SCHWEIZ/EVENT DESIGN/ KASERNE BASEL/ BASEL STADT
The INES Club #NewSwitzerland discusses the opportunities and risks of current anti-racist and diversity-oriented initiatives for our society. Together with interested people from the audience, we exchange different perspectives, try to find connections and look for interpretations for the democratization of democracy
2022/ MOSAIC/STOP MOTION ANIMATION/PRODUCTION DESIGN/DIR. BY ELI BERRA /ZÜRICH SWITZERLAND
Three beings occupy the floor of a cave with stones. Each of the three figures has a specific task. Where their bodies are particularly exposed during their work, a glittering layer forms. When a hole opens in the cave due to a mishap, the figures realize that their skin sparkles in the light because of the incoming light. But not all three glitter. This leads to a life-threatening conflict between the three.
2021/ FONGUS/EXHIBITION7PERFORMANCE/GALLERY HARD COVER/ZÜRICH SWITZERLAND
Fungus is an exhibition about death and rebirth of the senses, using the idea of space, food and sound exploring it in different layers of time and space, a culinary experience of bacteria and fungus in your body and mind.
2021/ PAGLIACCI /Opera/Scenography/Conjunto Santander GDL/Mexico
2020 Was a hard time for scenographers , but Okubo Studio managed to create 5 operas around the world. This one is specially important because is in Guadalajara, my home town. On this production , the vision of the artistic crew was to establish a statement against violence to women. we transformed the design to be a concrete wall that opens to se the blurry reality of Mexico. where they play is a dumpster full of Mexican wrestlers posters. the statement is clear , We cannot tolerate anymore violence.
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WE CAME BEFORE COVID!!!!
2020/EXTINCTION LAMENTO/Scenography/Concept/Cuadro22 Chur/Schweiz/
After the award winning performance design and show of Kernschmelze we ask ourselves where humans go from our own diseases. We explore the humor part of catastrophes before and now we embraced Extinction as a Requiem, as a figurative concept of the search of everlasting life with a Hydra and a Buggg. These Two beings are the ones left behind in life, only these two animals are left. One can reproduce itself forever, but it is quite vulnerable. The other is an old fashioned shell bug ( we call it buggg) that makes the impossible to survive. The two of them clash or bond .(we don`t really know) What we do know is the existencial dilemma of choice and survival. Chaos become poetic, poetry can blow up a Requiem into oblivion. We also play with timelines of a future Pantheon where a new spiritual space becomes an intellectual habitat.
TRAILER EXTINCTION LAMENTO
2019/DIETEGEN/Scenography/Tonhalle Zúrich/Schweiz/
For the 200 anniversary of Gottfried Keller, the Ghoete of Switzerland, a multimedia concert was proposed in the MAAG halle /tonhalle. This event would commemorate and put again in the map one go Keller`s most disrupting story. In collaboration with worldwide electronic music inventor Bruno Spoerri and acclaimed film director Ivan Engler (cargo) and the direction of Mathias Spöhr we worked in a collaborative way to transform this story of torture and family feuds taking place in medieval times. into a Post-Apocalyptic near future in Zúrich .
It became a unique show that blended electronic music, opera, and interactive scenography.
It became a unique show that blended electronic music, opera, and interactive scenography.
2019/NUCLEUS/"KERNSCHMELZE"/Scenography/Theater Chur/Schweiz/
The performance is a comedic chronology of the Swiss atomic program around the experimental power plant in Lucens. It is divided into 7 chapters and told by a narrator in a rather documentary way divided in 7 narrative chapters that submerge us into the Naivety and passive chaos that scientists where involved. The wrong decision making blinded by the need of knowing and experimenting further fucking it up just for the sake of science. It is a comedic melodrama of the way men curiosity love to blow up things, until its too late leaving arrogance guiding the voyage to catastrophe.Nuclear reactors have never been so theaterical !!
directed by: no director
Installation design /Scenography/Concept: Rodo Guadarrama
Dramaturgy/ Concept: Andri Perl
Costume/Installation design: Daphne Karstens
Sound architecture: Olav Lervik
Music: Astrid Alexander
Installation design /Scenography/Concept: Rodo Guadarrama
Dramaturgy/ Concept: Andri Perl
Costume/Installation design: Daphne Karstens
Sound architecture: Olav Lervik
Music: Astrid Alexander
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2019/BALL...CAGE /Interactive scenography/Zürich
2018/3 CATASTROPHES I HAPPILY SURVIVED/CHUR/CUADRO22 GALLERY/Schweiz
Fukushima2011/ Mexico 85/London 2005
· different spaces, 3 approaches :
Hyper reality/child memories/abstraction/
Transformed the gallery space where the boundaries of the narrative is blurred with reality and fiction,
3 post apocalyptic senses that where actually real.
1 scene, The moment Fukushima power plant failed and how is it today inside the reactor
2 scene. An abstract meditative bomb blow that killed 52 people and a meditation of 8 minutes inside a millisecond of a bomb blast.
3 scene, Memories of a 8.9 Richter scale earthquake and the vision of a kid who was in love with Godzilla another catastrophe character, the blending of character and earthquake brings strong memories back and is meant to have revenge on a washing machine destruction.
"We generate and degenerate realities in order to satisfy our attention.
It is funny how distorted reality makes us feel comfortable and good, Is a placebo while reality itself can be so cruel"
Peter Greenaway
3 CATASTROPHES I HAPPILY SURVIVED /INTERACTIVE SCENOGRAPHY
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* WORLD STAGE DESIGN 2017
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1.- Fukushima/3 Catastrophes I happily Survived/INTERACTIVE SCENOGRAPHY
/Zürich/20-23.1.2016/Toni Areal/art & Theater
/Verscio/18.2.2016/Dimitri Schüle
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2.- London bomb/3 Catastrophes I happily Survived/INTERACTIVE SCENOGRAPHY / /Zürich/20-23.1.2016/Toni/Art &Theater
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BURIED/ experitheater/uster forest CH/ 2017/ scenography
a political protest against borders there MR. P Vijayashanthan Vijayan 5pent 5 hours in a clay costume while people where modifying the lansdcape on it, transporming him into an experimental landscape with flowers and wire.
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FLUCHTLING/Experitheater/kulturthaus zürich/kunsthalle st gallen/2017/ scenography
Stories of real immigrants that defy death while crossing the Balkans, the death sea and the horrifying situation with human kind. It is a delicious journalistic theater piece in which Switzerland becomes both the paradise and hell for those who flew their homelands.
The immigrant gift of wine/Napa valley/ concept & scenography
Conception after working in a vineyard and having nostalgia for the work of opera and thinking that we could do.
We transformed the picking up of grapes from all the immigrants hands into sharing the experience with the consumers . the day of the picking of the grapes we decided that the people can go inside the vineyard and have a deep experience picking the grapes with the help of the immigrant , The relation between two people starts there. But there's also in between the lines of grapes opera singers, cello players that singing wine arias, all the way from far away coming so near to whisper the aria in your ear . A one day experience that brings Immigration, opera and the experience that you have helped for the year wine with your hands.
We transformed the picking up of grapes from all the immigrants hands into sharing the experience with the consumers . the day of the picking of the grapes we decided that the people can go inside the vineyard and have a deep experience picking the grapes with the help of the immigrant , The relation between two people starts there. But there's also in between the lines of grapes opera singers, cello players that singing wine arias, all the way from far away coming so near to whisper the aria in your ear . A one day experience that brings Immigration, opera and the experience that you have helped for the year wine with your hands.
AUSBAUCHEN/HKB Bern/St. Gallen theater/september 2016/dir. Suramira Voss/ Concept/SCENOGRAPHY
Ever wonder the story behind your shit? how the intellectual process of food is made out and in your stomach is made? and how personalities you meet every day react and influence your food and your system?
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A table, and two toilets, how can you organize your story understanding the functions of toilets , "when they come to you" and when they become an innerworld more than a black hole. The story and the actress discuss and questions of food process, food nutrition, and how you can learn from a lovely piece of shit ! |
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Der Hase poscheck spricht / HKB Bern/ May 2016/theater/ dir. Lea Witter/ INTERACTIVE SCENOGRAPHY
An original Theater and performance play. The dreams of your grandmother dying of old age, A relationship between an interactive cocoon, and the wise words of your ancestors.
The interactive cocoon functions with a space sensor. When the actor came close and made a high pitch the cocoon light up and change color and intensity.
The interactive cocoon functions with a space sensor. When the actor came close and made a high pitch the cocoon light up and change color and intensity.
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HEDDA? / Zürich/april 2015/Bûhne A/ Zürich/ Theatre/dir. David Zinder
A free adaptation of Hedda Gabler by Ibsen, we used a table as a Tangram for every situation in different scenes.
NARITA AIRPORT/Tokyo/2012/New National Theater Tokyo/theater
AME/ New National Theater Tokyo/ 2012/ opera/ scenography
SAMSON & DELILAH /Merida Yucatan/ June 2018/ Turin Italy/Opera/ dir. Cesar Piña
GAMAN / Tokyo Japan /August 2012/New National Theater/ Opera
Gaman means "patience" in japanese, but also "fun" in icelandic. the proposal was to have creative scenes and made them with patience. The result was a collaborative japan-mexico product that toured the world .
La Nozze Di Figaro/ 2012/ Tokyo/Japan/ opera
RUSALKA/2012/opera/New National Theater Tokyo/scenography
La nozze de Figaro/ Tokyo Japan /november 2012/New National Theater/ Opera/Model
Sessions/ New York & Mexico /November 2012/Teatro Vivian Blumenthal/Musical
Cavalleria Rusticana & Pagliacci / 2010 / DF/MX / Teatro de la ciudad/
Madama Butterfly/ props & Scenographer/ 2018 /Opernhaus zurich/MX /Teatro Degollado/ Opera
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El extraño caso/ 2009 / teatro IMSS / Gdl/Mx
El burgués gentil hombre / 2009 / teatro degollado GDL/Mx
by moliere
ivan illich / 2005/ kapelankas TEATre / krakow Poland/Bilbao Bai Festival
This project was based in Krakow in the basement where Tadeusz Kantor "Wielopole, Wielopole" and the Death class where played.
This was part of a project for a study in Poland and London during 2005 MA scenography at the Central st martins college. This play toured to Bilbao, and to London.
This was part of a project for a study in Poland and London during 2005 MA scenography at the Central st martins college. This play toured to Bilbao, and to London.
* Best show in ACT festival. 2005
* Best proposal London Student festival 2005
IL BARBIERI DI SIVIGLIA /2005/Teatro Degollado Gdl///MX
