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報道資料

Cirque du Soleil (シルク・ドゥ・ソレイユ)では、各種ショーのプレスキット、会社情報を用意しております。

Cirque du Soleil

すべてはケベックシティ(カナダ)の近郊の小さな町、ベ・サン・ポールで始まりました。1980 年代の初め頃、ベ・サン・ポールでは色とりどりの衣装をまとったキャラクターの一団が街を練り歩き、竹馬、ジャグリング、ダンス、火吹き、音楽などの芸を披露していました。彼らこそ、ジル・サンクロワが組織したストリートパフォーマンスのグループ、Les Échassiers de Baie-Saint-Paul(ベ・サン・ポールの竹馬乗り)でした。すでに街の人々はこの若いパフォーマーのグループに心を動かされ、魅せられていました。パフォーマーの中に、後に Cirque du Soleil の設立者のひとりとなり、CEO となるギー・ラリベルテもいました。

 
 
 

経歴

Guillaume Lord

Set and Props Designer and Theater Concept

Guillaume Lord started his college studies in communications but soon switched to design and production, which he studied at Collège Lionel-Groulx from 1990-1993.

With over 15 years of professional experience as a designer, Guillaume has created sets for theatre, dance, circus, variety ( Arturo Brachetti's world tour) and musicals in Canada and abroad.

For the stage, he has created remarkable designs for many Quebec productions including Maureen Hunter 's L'Atlantide/Atlantis (Théâtre de la Manufacture), Éric-Emmanuel Schmitt's Le Libertin (Just For Laughs), Steven Berkoff's Décadence (Théâtre de Quat'Sous)) Le Temps et La Chambre – which won the Masque Award for best set and the Gascon-Roux award – Art, La Grande Magia and Pacamambo, an opera for children.

Besides working with Quebec directors such as Serge Denoncourt, Lorraine Pintal, Claude Poissant and André Brassard, Guillaume has explored the dance scene with choreographers Shann Hounsell (the Czech Republic National Theatre), Ginette Laurin (O’Vertigo) and Jean Grand-Maître for whom he designed the sets for the Ballet de l'Opéra de Paris, Milan's Balletto della Scala, the Stuttgart Opera Ballet, the Munich Opera Ballet, the Norway National Ballet and Alberta Ballet.

He has also worked as art director on feature films and documentaries and designing sets for art exhibitions at the Musée du Québec. His screen credits as assistant art director include: The Case of the Whitechapel Vampire (2002), The Stork Derby (2002) The Royal Scandal (2001) The Sign of Four (2001), and he was the p roduction designer for The Child of Music (1999), Faces of Dance (1996) and Magic Violin (1996).

“The design for ZAIA was inspired by many influences,” says Guillaume. “I see it as a psychological journey into space and it contains references to optical sources as small as eyeglasses and as big as telescopes. Essentially it is the interior of a huge observatory looking out at the night sky – and I used astronomical charts to make sure the position of the stars and planets are accurate.”

Guillaume Lord was born in Montreal in 1971.