Her Methodology:
Stage Previsualization
To imagine and share a production in every artistic and technical detail — before the very first rehearsal.
The idea
Developed through her work, this method consists in digitally reconstructing a production before rehearsals even begin.
Using a 3D model of the stage, sets and other scenic elements, each scene can be imagined, tested and refined in advance. Performers’ movements, entrances and exits, set changes, video effects, lighting cues and technical interventions are all incorporated from the design stage.
This previsualization becomes a genuine bridge between the artistic and technical sides of a production. Before the first rehearsal even takes place, the director, stage management, technicians and creative team can share a common vision of the production to come. Artistic choices can be tested against technical realities very early in the process, making collaboration between teams easier and considerably reducing last-minute adjustments.
The goal
Beyond saving time and reducing costs, this approach also addresses an essential artistic concern: providing performers with a more stable and consistent working environment. In many productions, repeated changes during the rehearsal and technical process can unsettle performers, forcing them to constantly readjust their movements, intentions and points of reference.
By allowing many of these decisions to be tested and validated in advance, previsualization reduces the need for constant readjustment. Performers can devote more of their energy to interpretation, precision and character development. They gain confidence more quickly, allowing for greater freedom and a stronger presence on stage.
Inspired by the previsualization tools used in film and large-scale productions, this methodology ultimately seeks to place people back at the heart of the creative process. When technical constraints are anticipated, rehearsal time can be devoted to what makes live performance so powerful: emotion, human connection and artistic excellence.
“My work in previsualization grew out of a simple dream: to imagine, shape and tell stories on the scale of the greatest stage productions, without ever losing sight of the human detail.
This exploration is part of a broader approach to the creative tools behind large-scale productions, where anticipation, precision and a seamless creative process become artistic considerations just as much as technical ones.”
