Daniela Portillo Cisterna

Please tell us a bit about yourself and your current career

After returning from my studies at the University of Leeds, where I completed the MA in Performance Design, I have focused on sharing the knowledge and experiences I gained there. I currently lead the Regional School of Performance Design in Chile (Escuela de Diseño Escénico Regional) and coordinate the postgraduate Diploma in Performance Design at the University of Chile. My main dedication continues to be designing for the performing arts and teaching. I am about to premiere my first opera and remain committed to expanding the scope of scenographic practice beyond centralised formative spaces and into regional contexts. My work integrates what I learned during the MA into an expanded and authorial approach, supported by a team of national and international collaborators at the school I currently lead. Together, we strive to push the boundaries of what scenography means in Chile today.

How do you think the skills and knowledge you developed at Leeds helped with your career success?
The academic excellence of the University of Leeds is embedded throughout the MA in Performance Design. The critical perspectives offered by the programme’s lecturers were essential to my development. The skills and insights I gained became embodied knowledge — a way of thinking that now shapes how I critically reflect on my profession. This programme truly transforms your perspective from within.

What made you want to apply to your course and to Leeds?

I was searching for a rigorous conceptual and theoretical challenge. In my country, access to specialised literature on scenography was very limited, and I needed to study abroad with experts in the field to expand my theoretical framework. What I didn’t expect was how much the programme would also encourage a practice-led mode of thinking.

The reason I applied specifically to Leeds was because of Dr. Joslin McKinney and Dr. Scott Palmer. I had previously read their book on Scenography Expanded, and I deeply wanted to learn from them. They — and their book — were the main inspiration that led me to the UK. Once there, I discovered a universe of other professionals who also shaped my growth.

What aspects of the course did you enjoy the most?  

One of the most significant and enriching aspects of the course was the opportunity to work on my own creative project — Alma y Muertos — within the structure of the MA programme. When I applied to this MA, I had just been selected as a Chilean representative in the Performance category for the Prague Quadrennial of Performance Design and Space — probably the most important international event in scenography. I was fortunate to be able to develop this work as part of a research-based module under the guidance of Dr. Scott Palmer.

It was an incredibly motivating experience: I was able to hold an early work-in-progress presentation at the University, receive valuable feedback from experts, and further develop my performance from both theoretical and practical perspectives before its international premiere. When Alma y Muertos, a ritual performance exploring death rites from northern Chile (where I’m from), was finally presented at the Prague Quadrennial, my tutors were there — not only as mentors but also as witnesses to my growth as an artist.

Then, academically speaking, I particularly enjoyed the module Critical Concepts in Performance Design, which deepened my understanding of expanded scenography. The readings were demanding but intellectually stimulating, constantly encouraging us to think critically. I also loved the practical modules, where we could create through materials and explore designturgy in fully equipped spaces with access to technology, resources, and an exceptional support team.

What would you say about the learning and the support facilities in your School and at the University in general?

The facilities and support at the University are exceptional. Access to materials, technological resources, and constant technical support were essential. There was also a clear awareness of eco-scenographic approaches, including working with recycled and repurposed materials. The workshops, lighting studios, and scenographic spaces were open to experimentation. Working closely with technicians was a valuable learning experience.

What would you say to anyone thinking of applying to your course?

What makes the MA in Performance Design especially unique is its critical edge — a distinctive feature driven by those leading the programme, who are also prominent voices in the field of expanded scenography.

This MA programme does more than strengthen your critical thinking and practice — it also opens a door to a global network of scenographic exchange. Thanks to this experience, I continue to connect internationally as a Chilean artist within a broader community of performance designers. The relationships and collaborations that began during my time at Leeds still shape how I approach my work today.

If you're considering this course, I would encourage you to fully embrace the intellectual and creative challenges it offers. It requires commitment and self-direction, but in return it gives you the tools, frameworks, and community to rethink your practice — and to place your work in dialogue with international perspectives on scenography.