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[title]The 2025 winter holidays are an ideal opportunity to slow down and share memorable moments with the little ones. In a landscape full of options to entertain, stimulate, and surprise children, there is a proposal that goes far beyond mere entertainment: theater for babies. Rooted in sensitivity, art, and connection, Proyecto UPA invites families to live a unique experience of bonding, pause, and play from the very first months of life, also including neurodivergent children with a respectful, loving, and diverse perspective.
If you are looking for ideas on what to do with kids during this winter break, this interview with Gabriela Hillar, founder of the first theater company for early childhood in Latin America, is an invitation to see the world with fresh eyes. Through sensory, inclusive, and deeply poetic works, Proyecto UPA shows that art is also an essential language for babies and that shared time on stage can become one of those memories that last forever.
Since 1993, Proyecto UPA has been a pioneer in early childhood theater in Latin America. How was this proposal received in its early days, and what changes do you notice in the audience today, more than 30 years later?
When we started in the 90s, many people were surprised that there was theater for babies. Some even asked if babies understood anything or if it was worth doing it at all. Over time, audiences discovered how powerful this language is for the very young, and today families come with a different sensitivity—much more open—looking forward to that moment of pause and connection. At first, the proposal was a true novelty. The idea that babies from six months old could attend a show specially designed for them sparked much curiosity and also some disbelief: many did not imagine that a baby could maintain attention or be emotionally touched by a theater performance. Over time, the audience evolved: today, families and cultural spaces value and seek out this kind of experience, understanding that art is a language to which babies are sensitive from the start. What was once experimental is now recognized as necessary. I believe the biggest change is that families now know this time with their children is unique and unrepeatable, and they choose it consciously.
"Art is a language to which babies are sensitive from the very beginning"
One of the most touching projects is Los Mundos de Manu, inspired by the drawings of an autistic artist. How did this collaboration come about, and what importance do you place on including the neurodivergent population in your shows?
“Los Mundos de Manu” was born from the encounter with the creative universe of Manuel Nieto, a young autistic artist whose illustrations are full of color, tenderness, and originality. From the very beginning, we felt his perspective had much to contribute to early childhood theater. Including neurodivergence is not a forced "inclusion": it is recognizing the richness that each uniqueness brings and learning to dialogue with it. Together with María Mangone, we called upon the great puppeteer Daniela Fiorentino, with original music by Graciela Pesce and the exquisite performance of Rosina Calabria and Mariana Macchiarola. It was a bet on tenderness and diversity as a genuine meeting. Including the neurodivergent population, not only as an audience but also as creators and protagonists, deeply enriches us and affirms that diversity is a fundamental part of the beauty of art.
What is the creative process like for building such sensory and accessible works for babies from six months old, and how do you work with nonverbal language and playfulness on stage?
The process always begins with listening to and observing the babies and their families. We start from materials, sounds, gestures, colors, and movements that spark curiosity and invite play. Nonverbal language is fundamental: we rely on music, rhythm, gaze, and poetic actions, without depending on words. The key is to create a space where babies and adults can play together, feel comfortable, and be part of the scene. We know babies complete any aesthetic act with their mere presence, which is already poetry and play.
"We rely on music, rhythm, gaze, and poetic actions, without depending on words"
Tiluc, Circo a Upa, Luna, and May... Each play has a very particular aesthetic and poetic style. What elements are essential for an early childhood theater proposal to work and connect with babies and their families?
Authenticity and sensitivity are essential. Every detail matters: materials, lighting, music, silence, colors, textures. It’s important to respect babies’ timing, allow their curiosity and movement, and not impose an external rhythm on them. Above all, creating an atmosphere of tenderness and play where families can reconnect with the joy of simplicity.
Each play has its own identity, but they all share the same intention: to invite pause and presence.
Proyecto UPA works from art as an essential language from the earliest years of life. What impact do you think theater has on the emotional and sensory development of the very young, and what feedback do you usually receive from families?
Theater offers babies a space to explore emotions, discover sounds, colors, movements, and begin interacting with others from curiosity and affection. For families, it is a moment to see their children with new eyes and connect more deeply. Many tell us it’s the first time they see their baby so focused or engaged. After every show, I remain convinced that it’s worth giving ourselves that shared moment of wonder. Every baby reminds us that the world is always just beginning, and we can choose to live that beginning with them. For me, that is the deepest meaning of early childhood theater.
Find the full Proyecto UPA schedule for the winter holidays here.