Cirque du Soleil
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Sala de prensa

 

Material de prensa

El Cirque du Soleil ofrece kits de prensa de sus diferentes espectáculos e información acerca de la compañía.

Cirque du Soleil

Todo comenzó en Baie-Saint-Paul, un pueblo pequeño cerca de la ciudad de Quebec, en Canadá. A principios de 1980, un grupo de personajes coloridos deambulaba por las calles en zancos, haciendo malabares, bailando, tragando fuego y tocando música. Eran Les Échassiers de Baie-Saint-Paul (los caminadores sobre zancos de Baie-Saint-Paul), un grupo de artistas callejeros fundado por Gilles Ste-Croix. Los lugareños estaban impresionados e intrigados por los jóvenes artistas, entre los que se encontraba Guy Laliberté, quien más tarde fundaría y se convertiría en presidente del Cirque du Soleil.
 
 
 

Biografía

Jacques Heim

Choregrapher

When choreographer Jacques Heim first heard that Cirque du Soleil was interested in working with him he thought it was a mistake. Although he had admired every Cirque show he had seen, and he had seen almost all of them, he never thought Cirque and his own dance company would be a good fit—until KÀ came along.

Heim was born in Paris but moved to New York as a young man, and studied as a theatre major at Middlebury College , Vermont . Upon graduation he moved to England, where he studied dance, then came back to the United States where he founded the acclaimed Los Angeles dance company Diavolo.

For Heim, the link between Diavolo and KÀ lay in the process. "It's the same," he says, pointing out that, just like the cast of KÀ, Diavolo's dancers work with enormous architectural structures and props in constant motion. "I work with acrobats and different types of movers and dancers. We don't do circus but we do deal very much with structures and architectural environments. I'm not used to Cirque, but I am used to this kind of process."

To create the show's choreography Heim had to blend dance with martial arts, acrobatics, puppets and projections—and he says that took some getting used to. "All those different languages and layers had to be mixed and put together. It wasn't easy, but I knew it was going to be possible because we had Robert Lepage as our director, and with his vision, somehow we would be able to put it together."