Cirque du Soleil
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Materiales de prensa

Cirque du Soleil ofrece dosieres de prensa de sus distintos espectáculos e información sobre la empresa.

Cirque du Soleil

Todo comenzó en Baie-Saint-Paul, un pequeño pueblo cerca de Quebec (Canadá). Allí, a comienzos de la década de los ochenta, un grupo de personajes llenos de color deambulaban por las calles subidos en zancas, haciendo malabares, bailando, lanzando fuego por la boca y tocando música. Se trataba de Les Échassiers de Baie-Saint-Paul (los zancudos de Baie-Saint-Paul), un grupo de teatro callejero fundado por Gilles Ste-Croix. Los habitantes del pueblo quedaron impresionados por los jóvenes artistas y, entre ellos, se encontraba Guy Laliberté, que posteriormente fundaría y se convertiría en director general del Cirque du Soleil.
 
 
 

Semblanza

Carl Fillion

Set and Props Designer

Carl Fillion has a degree in set design from the Conservatoire d’art dramatique de Québec, where he taught technical drawing from 1992 to 2002. His training also included studies in architectural design and structure.

Carl has worked with many prominent companies and directors around the world and has a long list of theatre, multimedia and opera credits to his name, including sets for La Celestina staged by Fernando de Rojas's Royal Dramatic Theatre in Stockholm, The Burial at Thebes at the Abbey Theatre in Dublin and the opera Simon Boccanegra at the Gran Teatre del Liceu in Barcelona.

TOTEM is Carl Fillion’s first design for a Cirque du Soleil production, and he set himself the challenge of making all its forms organic, full of curves and irregular shapes, to reflect the forms found in nature – while serving the technically demanding needs of the show’s performances.

Carl’s long association with director Robert Lepage began in 1994 with the groundbreaking show Les 7 branches de la rivière Ota, and he has continued to create set designs for more than a dozen major theatre and opera production mounted by Lepage’s company since that first collaboration.

“TOTEM is about evolution, so it was appropriate that the sets went through their own evolution,” says Carl. “I don’t have single one-size-fits-all approach that I apply to every production. It depends on the genre – theatre, opera, and now, circus – and it also very much depends on who the director is. But I do always like to work with space, constantly transforming it and filling it with movement.”

Carl Fillion was born in Baie-Comeau, Quebec, in 1966.