Nina Vogel is a Brazilian creator-performer whose interdisciplinary practice integrates lyric singing, music theatre, visual dramaturgy, objects, puppetry, and costume. She conceives, creates, and performs her own authorial works, building poetic stage worlds where voice, body, and material evolve together beyond disciplinary boundaries.

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Originally trained in classical music, she studied piano, theory, and music history at the Carlos Gomes Institute before dedicating more than fifteen years to lyrical voice training with tenor Benito Maresca and conductor Bruno Roccella (founder of the São Paulo Symphonic Orchestra), complemented by advanced studies in France and the United States. This musical foundation remains central to her artistic practice, informing performances in which vocal presence, physical action, and visual composition evolve together.

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She holds a BA in Theatre from Escola Superior de Artes Célia Helena (São Paulo) and pursued specialization in Contemporary Puppet Theatre at UQÀM – Université du Québec à Montréal, supported by two Québec government scholarships (2018). Her interdisciplinary work has received international recognition, including a directing fellowship from the O’Neill Theatre Institute (USA, 2021) and the Outstanding Work Award at the Chuncheon International Animation Film & Theatre Festival (South Korea, 2020) for Concordis Lambe-Lambe Motion.

An internationally active artist, Vogel has presented performances, lectures, and workshops in more than 25 countries across the Americas, Europe, Asia, and Africa. Recent engagements include residencies and performances in Canada, the United States, Japan, Taiwan, South Korea, Chile, France, the Czech Republic, and Brazil. Highlights include the Prague Quadrennial (Rare Performances), Festival of Animated Objects (Calgary), Beijing International Puppet Festival, and the representation of Brazil at the AVIAMA World Congress in South Korea.

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Her works emerge from the dialogue between body, sound, and material, with costumes and objects conceived as extensions of the performer’s presence—elements that generate movement, rhythm, and narrative rather than merely illustrating them. Through this process she creates intimate theatrical experiences that invite audiences into encounters with imagination, memory, and transformation.

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Alongside her artistic practice, Vogel develops pedagogical and research formats exploring costume, voice, and objects as tools for creative authorship, fostering interdisciplinary dialogue between performers, designers, and visual artists.