The logo of the post-migrant theatre Ballhaus Naunynstraße: a drawing of a dog’s head in profile, showing its teeth with its tongue hanging out. Next to the dog’s open mouth is a red star.

Ballhaus Naunynstraße

Emilio Cordero Checa

Emilio Cordero Checa

Emilio Cordero Checa is a stage lighting designer, sound artist, and creative technician, dedicated to the production and creation of light-sound installations and interdisciplinary performing art pieces. His work focuses on the interaction between live performances and new technologies using light and sound to conjugate mechanics and human interaction on stage. He holds a Master´s degree with Honours in Contemporary, Technological and Performing Arts from the Basque Country University. His work has been shown in various theaters and festivals in Ecuador, Spain, United States, and Germany and he has also collaborated with international events like Fête des lumières (Lyon ‒ France), Fiesta de la Luz (Quito- Ecuador), BAD (Bilbao- Spain), VAQ (Quito- Ecuador), Berlinale (Berlin – Germany), among others.
Currently, he lives in Berlin where he is investigating new technologies applied to stage lighting design for his Ph.D. while collaborating with different art collectives and spaces, as well as dance, performance and theater companies.

As a lighting stage designer, Emilio has worked at Ballhaus Naunynstraße on productions including Auf meinen Schultern (2019) by Raphael Moussa Hillebrand, Im Strom (2022) by Atilla Oener, Auf dem Mars sieht die Welt so aus (2023) directed by Marque-Lin and Bishop Black’s performance Becoming My Body (2019).

Participation in: