With more than 200 productions to his credit, and over 25 years of experience, Fabrice Kebour has become one of Europe’s leading lighting designer.
His career began in New York where he developed his skills designing numerous productions as well as assisting established professionals.
First steps, first success, he wins entry to the United Scenic Artists internship program which allows him to work with some of the leading American lighting designers of the day, both Off and On Broadway. After successfully completing the 2 years internship, Fabrice became the first foreign lighting designer to be granted membership of USA 829 through the examination process.
After 5 years in New York gaining multiple experience, Fabrice Kebour returned to paris and became at age 27 the associate lighting designer of the Cameron mackintosh productions “Les Miserables” which he designed in Madrid, Dublin, Edinburgh, Singapore, Duisbourg and Hong-Kong, as well as “Miss Saigon” in Stuttgart and Scheveningen. It is at that time that he designs his first european productions amongst which “Hamlet” directed by Terry Hands, as well as several production offered to him by Gian Carlo Menotti for the Spoleto Festival.
He designed Giorgio Barberio Corsetti’s productions “Un Chapeau de Paille d’Italie” for La Comédie Française, “Macbeth” et “Turandot” for La Scala, as well as Don Carlo at the Mariinsky.
Since 2007, he has been designing most of David Pountney’s production amongst which “La Forca del Destino” for the Wiener Staatsoper, “Die Zauberflöte” for the Bregenz festival and Philip Glass’ world premiere, “Spuren der Verirrten” for the opening of the new opera house in Linz.
Fabrice enjoys venturing beyond his main fields that are theater and opera, and always welcomes new challenges. He designed numerous musical around the world and In 2006, he designed the opening and closing olympic ceremonies of the Asian Games in Doha.
Always eager to build bridges, he co-founded the french lighting designer’s association “Union des Créateurs Lumière” in 2009 for which he held the president position until 2012.
The theatre and design community praised his work on numerous occasion and in 2011, the Prague Quadrennial invited him to be part of the “Light Speaks” exhibit which displayed the work of the world’s leading lighting designers.
Hesitation, fear, confidence,strenght, it is all on stage magnified by the stunning lights designed by Fabrice Kebour
Thanks to the elaborate work of Fabrice Kebour Lights suggesting with great subtlety the spaces of the brothel where Theodora was thrown or the nightlife of clandestine meetings of believers and pours.
Everything is bathed in beautiful light , almost metaphysical and spiritual designed by Fabrice Kebour .
The remarkable work of Fabrice Kebour’s lighting that pierces through Andrew Edward D’s moucharabiehs
“The precise lighting designed by Fabrice Kebour are transforming the space and contribute to the success of this visually stunning staging.”
“Before this impassable lace hinting the unreachable freedom on which we may at most partially open from time to time a window, the action takes place in a monastic space, sculpted by beautiful lighting from Fabrice Kebour.”
“Everything is beautiful and deep in this show where even the splendor of the scenery Andrew D Edwards, subtly lit by Fabrice Kebour, carries out the vision that Garcia Lorca : confering to hell a saving beauty.”
“In the darkness , one is bound to applaud the remarkable work of Fabrice Kebour’s lighting that pierces through Andrew Edwards’ set and the beauty of Mich Oscowiak’s music”
“And that giant lace wall where light brilliantly passes through, while young girls cling on it like moths attracted by the outside light.”
“In Michaël Levinas' work, the proximity between the aviator and the child with blond hair takes an emotional turn. Sitting side by side, they marvel at the sunsets (very beautiful lights Fabrice Kebour).”
« In addition, Fabrice Kebour provides the suitable light effects that cleverly use the slowly breaking evening clair-obscur effect and emphasise the futuristic staging.»
"The japanese aesthetic offers an abstract dramatic concept that avoids cliches, morover admirably lit"
" Rifail Ajdarpasic’s massive set made of dark panels similar to larva or bronze, and Fabrice Kebour’s very subtly adjusted lighting create the uncanny atmosphere."
"The references to Goya and his heavy atmospheres are perceptible in a directing of a rare intensity, carefully avoiding any vulgarity, of a contained violence, and whose cruelty is underlined by the harsh lighting of great beauty."
"The lighting and video designed by Fabrice Kebour bring the effects of rain, snow, night, something that creates a constant feeling of anxiety... We name everyone as there is a very big coherence in this work, this grand work set as a musical score."
"...In addition, Fabrice Kebour’s lighting manages to establish the dark atmosphere that serves the play."
"We will particularly notice the beautiful lighting effects, sometime of golden tint, sometime redish like this fire into which Zuniga ends up..."
«Note Sophie Jacob’s superb set and Farbice Kebour’s striking lighting...
«The set is simple, both unreal and concrete. Virtuosity of the lighting, faultless intuition and sensitivity of the concept: Pountney takes brilliantly to completion a project that will, undoubtedly, remain as the major event of his mandate in Bregenz.»
«The stage (Johan Engels) keeps open all the possibilities of transformation and astounding play areas, excellent lighting effects (Fabrice Kebour) and carefully chosen costumes (Marie-Jeanne Lecca) underline the events detailed.»
«not only the theme of the opera, but the totality of David Pountney's production with the interaction of music, stage and lighting created a tremendous magnetic pull.»
«Fabrice Kebour lighting design is great.»
«It is rare to see such an outstanding piece increased by the perfect costumes of Marie-Jeanne Lecca and the impressive lighting design by Fabrice Kebour.»
From the cast to the stunning lighting design, every element of this staging contributes to offering a striking theatre experience
Slowly, the bodies come alive, the design reveals its unexpected possibilities (numerous traps, splendid lighting design which brings changing geometry to the white surface of the amphitheater.
«...Fabrice Kebour creates with his masterful lighting connection and divisions among the people who defined the space constantly, creating an impressive mood lighting...»
«...has brought to vivid life this stage scenery and especially through the art of Light Designer Fabrice Kebour»
« This is supported by the simply brillant color dramaturgie of Fabrice Kebour »
«...Pountney sets the conflict embodied in the opera based on prohibition and waiver of Western culture, in contrast to a hedonistic "nature religion" into a simple visual language, especially through the splendid lighting (Fabrice Kebour)...»
«Fabrice Kebour does the rest, meaning everything, with his lighting »
mais telle est la théâtralité flamboyante de sa production, étonnamment éclairée par Fabrice Kebour, où l'essence de la querelle entre factions est vivement communiqué, et les scènes climatiques du harem d'Ivan Khovansky avec le suicide de masse des vieux-croyants sont visuellement magnifique .
Best lighting designer
Théâtre de l’Oeuvre
Best lighting designer
Théâtre de l’Atelier
Best lighting designer
Théâtre de la Pépinière
Prix de la critique
Prix de l’Europe Francophone
Die Lustigen Weiber von Windsor
Opéra Royal de Wallonie
Best lighting designer
Moses in Egypt
Welsh National Opera
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