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プレスルーム

 

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

Jean-Jacques Pillet

Choreographer

From 1994 to 2002, Jean-Jacques Pillet, choreographer and stage director, worked as the artistic associate of Jean Grand-Maître, the world-renowned choreographer from Quebec, collaborating in creation, as well as supervising and restaging various productions of his works.

His responsibilities with M. Grand-Maître led to opportunities to work as a choreographer and teacher with many leading dance companies in North America and Europe, including L’Opéra National de Paris, La Scala de Milan, the Stuttgart Ballet, the Munich Opera Ballet, the National Ballet of Canada, Les Grands Ballets Canadiens de Montréal and Den Norske Opera Ballet. In 1992 the Susan Dellal International Dance Competition in Tel Aviv honored him with its Best Dancer award.

From 2003 to 2005, Jean-Jacques was the artistic coordinator of the Cirque show Varekai, directed by Dominic Champagne. In 2007 he worked on the opening ceremonies of the Outgames in Montreal and for the Quebec singer Diane Dufresne. His also choreographed the Italian production, Tablò, staged by Serge Denoncourt, the prominent playwright and theatre director from Quebec.

Jean-Jacques’ choreography for Quebec-made films includes the latest movie by director Olivier Asselin, Un Capitalisme Sentimental, as well as Macadam Tango, directed by Lyne Charlebois and Laura Cadieux la Suite, directed by Denise Filiatrault.

“I get a lot of inspiration from theatre,” says Jean-Jacques. “But also from the sculptures of Auguste Rodin and Arturo Giacometti, which embody motion in stillness. My goal in ZED is to try and serve the subtext of the piece through acrobatics and choreography without ever falling back on choreographic flourishes. What interests me is to choreograph an emotion rather than a movement.”