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A few weeks ago we had the luxury of meeting Juanjo Llorens again during our Open Days in Madrid, where he participated in the round table “When illuminators and programmers speak the same language”. It was a unique opportunity for attendees, who were able to gain firsthand insight into the perspectives and experiences of industry professionals such as Juanjo Beloqui, Chiqui Ruiz, Fede Díez, and Juanjo Llorens himself.
Now, on the occasion of the launch of his book “Reflections of an enlightened old man through the cataract of his eye”, we wanted to continue that conversation with him beyond the stage.
Juanjo is a native of Alicante who has been here for more than three decades Leaving his mark on stages across the country. A multiple winner of the Max Lighting Award, his signature is behind productions that have marked a before and after in theater, dance, and live performances. But beyond the spotlight and accolades, what defines Juanjo is his way of understanding light: as emotion, as narrative, as a way of being in the world without having to get on stage.
With this book, he opens the door to his creative and emotional universe. And in this exclusive interview with Stonex, he tells us why he created this work, how he experiences his creative process, and what he would say to those who would like to follow in his footsteps.
Reflections of an enlightened old man: a conversation with Juanjo Llorens
How did you end up involved in this lighting business?
After being part of a group of kids with the same interests in theater, music, and dance, I think the stage aspect made my shyness too vulnerable. My rebelliousness wouldn't let me abandon those interests, and I decided that light was my best ally to stay involved in the adventure.
What prompted you to write Reflections of an Enlightened Old Man through the Cataract of His Eye?
The way the recent projects I've been involved have developed led me to share my experiences and my beginnings in the profession, which have little to do with those of today. I also wanted to share my perspective on the craft and my understanding of light. And finally, I needed to unburden myself of everything that always happens and that I never say... and that, after the premiere, is forgotten, until it happens again in the next production.
What has to happen for a light to have a soul and not just remain “it just works”?
You have to feel what you're telling with light, from the very beginning. Ideas should start coming to you, whether good or bad, but always keep that light in your mind so you can adapt it to your personality and the expectations of the production.
Of the entire creative process, which part do you enjoy the most and which one do you still struggle with?
First, finding my working code when you're alone with the project for the first time, then when the director, set designer, and other colleagues join, and knowing how to complement each other without losing your style, but the part I enjoy the most is when you start mixing the light, in the solitude of a space with your programmer. Those are the moments I enjoy the most.
Do you design to provoke something specific or do you let each viewer experience it in their own way?
Each person will understand light in their own way, or perhaps never understand it at all. They'll see that there simply is light, and that it won't matter whether it illuminates or illuminates, but they'll never consider its dramatic nature. I think I should try to bring my light story to them and be able to help them understand it, and if not, at least enjoy it as a whole.
When there are so many creative voices, how do you manage to not dilute your light personality?
The last voice is the director's, which has the power to coordinate all of us creatives. You have to be flexible and know how to give in at certain moments, where you also realize that what they're proposing to you may be more appropriate than what you're proposing, and you bring that into your general universe of the show.
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That trick of putting the light you want just as the director walks in... do you do it a lot? Does it work?
It's a way that by removing the working light and with a clear idea of where you want to take the "color" of the show - understanding color as the emotional atmosphere you want to convey the show - if the director doesn't complain and feels comfortable, you've made the right choice. And if not, then he's already gained in knowing that it's not the common base to use.
Do you still notice resistance in classical theatre to using moving spotlights?
It's a fact that tungsten light is much more beautiful than LED or discharge light, at least for me, but it's true that with new investments from manufacturers, the light is becoming more and more similar.
Using LED spotlights for the theater is not the same as using them for concerts or events. Moving spotlights and changing colors give us possibilities that we didn't have before, and with a spotlight we can do many things. However, on the other hand, the problem we may have is that the light will always come out from the same point. That's why, even though we have those advantages, we continue to use many spotlights if we can...
You lit up the Cibeles fountain and City Hall during the pandemic. Was that one of those special projects?
Yes, because I suddenly realized that with light I could tell a terrible story we went through, but we always had that glimmer of hope, which I represent with the Cibeles lighthouses. This is also a clear example of what we were talking about before. Many people may not have even imagined the meaning of that work, but they'll have left thinking they've seen a beautiful light show.
A light that not only illuminates, but also tells
Our conversation with Juanjo makes it clear that stage lighting is much more than just a technique: it's a way of thinking, of storytelling, of being moved, and of inspiring emotion. His book not only collects anecdotes and reflections, it also gives us a very personal map of what it means to be a lighting designer today. For those of us in the industry, it's a gift. For those just starting out, it's a compass. And for everyone, it's an invitation to look at light through different eyes.
At Stonex, we can only thank Juanjo for sharing his time, his perspective, and his unique way of illuminating the world.
