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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。

Corteo

「 コルテオ 」 はイタリア語で " 行列 " を意味し、 道化師 の 想像 の世界での 楽しい お 祭り の パレードです 。アクターの情熱とアクロバットの優雅さ と 力を 合わせもつこのショーは、 天と地の間の不思議な空間 生まれる 、楽しくコミカルでのびのびとした 世界に観客を誘います。

優しい天使に そっと 見つめられながら 、 道化師は カーニバルのような雰囲気の中で行われる自分自身の葬式を描きます。大きいものと小さいもの、滑稽さと悲劇、 完璧な魔法と 不完全なものの 魅力が重なり合い、ショーは道化師の強さと弱さと同時に知恵と優しさにも焦点をあて、私たちの中にある人間的な部分を 描 き出し ます 。 交互に奏でられる 抒情 的な音楽と 陽気 な音楽 が、 幻想が現実をからかう かのような、 時を超えた 祭典「コルテオ」を際立たせています 。

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ペルー, コスタリカ, コロンビアツアー

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Corteo - クリエーター

  • ギー・ラリベルテ

    創設者

    ギー・ラリベルテは 1959 年にケベックシティで生まれました。アコーディオン奏者、竹馬乗り、火食い芸人、そしてギーは、少人数のグループのサポートも得て、ケベック最初の国際的名声を得たサーカス集団を結成しました。大胆な夢想家、ギー・ラリベルテは、ベ・サン・ポールの Fête foraine (ラ・フェト・フォレーヌ)から優秀な人材を発掘して才能を育て、1984 年に Cirque du Soleil を結成しました。

    ギー・ラリベルテは、文化、芸術、アクロバットを融合して調和させた最初の人物です。この調和こそ、Cirque du Soleil の象徴です。1984 年以降、彼はすべてのショーでクリエイティブチームを率い、サーカスアートを偉大な芸術分野のレベルにまで引き上げることに貢献してきました。

    Cirque du Soleil は、活動と影響の範囲の大きさにおいても、国際的組織に成長しました。現在ギー・ラリベルテは、5 大陸で活動を続ける組織のトップの座にあります。

    2007 年 10 月、ギー・ラリベルテは ONE DROP FOUNDATION を組織し、彼の人生の次のステップに踏み出しました。この組織は、安全な水を継続的に供給することによって、世界中の貧困と闘うことを目的としています。この新たな夢は、水を得る権利は世界中の個人と共同体の生命の維持に不可欠であるという認識、そして創立当初から Cirque du Soleil の理念の核となっていた価値観が発端となっています。その価値とは、生命は自分が与えた分だけこちらに与えてくれ、たとえ小さな活動でもいずれ効果を発揮する、という信念です。

    ギー・ラリベルテは 2009 年 9 月に民間人としてカナダで初めて宇宙旅行を行いました。彼の使命は、地球上の人類が直面している水の問題に対する関心を高めることでした。「Moving Stars and Earth for Water」というテーマのもと、この宇宙始まって以来最初の Poetic Social Mission(詩的な社会活動)は芸術的なアプローチで人々の心を動かすことを目的としていました。そのアプローチとは、さまざまな芸術的パフォーマンスによる 120 分間の Web キャスト特別プログラムを、5 大陸の 14 都市と国際宇宙ステーションで公開するというものです。

    主な受賞歴と特記事項
    2012 年、ギー・ラリベルテは American Gaming Association の「Gaming Hall of Fame」を受賞しました。2011 年には、カナダのビジネス功労賞「Order of the Canadian Business Hall of Fame」を受賞しました。2010 年に、ハリウッド・ウォーク・オブ・フェームにギー・ラリベルテの星のプレートが設置されました。同年、ケベック州政府により、6 年前に授与された名誉賞「シュヴァリエ」よりさらに上級の「オフィシエ」が、「Ordre de la Pléiade」のメンバーとして授与されました。2008 年にギー・ラリベルテはラヴァル大学(ケベック州)より名誉博士号を授与されました。その前年には、Ernst & Young Entrepreneur of the Year 賞を、ケベック州、カナダ、国際の全 3 レベルで受賞しました。2004 年には、カナダ総督より、カナダ最高の栄誉であるカナダ勲章を授与されました。 同年、タイム誌により、「世界で最も影響力のある 100 人」のひとりに選出されました。2003 年には、Condé Nast グループにより、クリエイターとイノベーターを対象とする Never Follow Program で栄誉を称えられました。2001 年、彼はグレーター・モントリオール・アカデミーにより、偉大なるモントリオール市民の称号を与えられました。1997 年には、ケベック州政府最高の栄誉であるケベック勲章を授与されました。


    その他の受賞歴と特記事項

    2009
    Canadian Marketing Associationによる、ライフタイム・アチーブメント賞を受賞

    2002
    カナダのウォーク・オブ・フェームに名前が彫られる

    1998
    アメリカン・クラフト博物館(現在はニューヨークのアート・アンド・デザイン博物館)によるヴィジョナリー・アワードを受賞

    1996
    第 43 回 Gala du Commerce(ケベック)にてVision nouvelle賞を受賞

    1988
    Gala Excellence La Presse(ケベック���のパーソナリティ・オブ・ザ・イヤーを受賞

    1988
    Les Affaires 誌(ケベック)の Entrepreneur of the Year 賞を受賞

     

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  • Daniele Finzi Pasca

    Creator and Director

    For Daniele Finzi Pasca, Corteo represents a kind of full circle, a bringing together of all the threads of his professional career. As a young man growing up in Switzerland he was a competitive gymnast. He went on to work in circus, and eventually established a reputation in theater as a writer and director.

    Daniele was born into a family of photographers. "Then my mother became a painter," he says. "I grew up surrounded by images and imagery. And I put them into motion."

    Perhaps the most formative event in his life was a trip he took to India, where he worked as a volunteer looking after terminally ill patients. On his return to Switzerland, he founded a company called Sunil's Clowns, which changed its name to Teatro Sunil in 1986. Teatro Sunil is still "home," but Daniele also travels the world, with his own productions and as a guest director with other theater and circus companies.

    A prolific writer, Daniele does not restrict his creative output to the stage. He has also published Come acqua allo specchio, a collection of short stories. (The show Passo Migratore is based on one of the stories from this collection).

    Daniele's lifelong fascination with clowns and clowning took root at the famed Circus Nock, where he performed in an acrobatic clown number. He has since developed a personal approach to the tradition which he has presented in courses and workshops for companies and organizations all over the world, including Canada's National Circus School and Cirque du Soleil. He also directed the highly-acclaimed Cirque Eloize shows Nomade - La Nuit le Ciel est Plus Grand and Rain - Comme une Pluie dans Tes Yeux.

    Corteo is inspired by the death and funeral of a clown, and draws on a clown figure from a past long before the existence of circus—a time when clowns were not the stereotypes we know now, but far more complex characters. Daniele says the show is "situated at a strange level between heaven and earth, where the gods and humans can interact through the medium of circus."

    The show's environment takes its inspiration from many architectural sources, especially Chartres cathedral and its labyrinth, which for Daniele Finzi Pasca symbolizes the journey of life. "The labyrinth is a great voyage: To find yourself you have to lose yourself," he explains.

    Daniele Finzi Pasca was born in Lugano, Switzerland in 1964.

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  • Line Tremblay

    Director of Creation

    Line Tremblay first fell in love with Cirque du Soleil in 1984, drawn by its freewheeling spirit, a spirit she says has never gone away. “For me, circus is the most complete art form. It addresses the audience on the visual, the emotional and the physical level all at the same time. I always knew I was destined for a life in this milieu.”

    Before joining Cirque du Soleil, Line developed a passion for working in the world of film and television, notably as an Assistant Director at Radio-Canada, where she worked closely with designers and creators. In 1992, she joined Franco Dragone, assisting him in the creation and direction of the Cirque du Soleil shows Mystère, Alegría, Quidam, “O” and La Nouba. Her talents were also put to work as Artistic Director of Quidam. Her rich association with Franco helped her to master the mechanics of stage direction and show creation.

    A newcomer to the equestrian field, Line worked with Gilles Ste-Croix assisting in the creation of the 2000 show Cheval Théâtre. She left Cirque du Soleil to work with Franco Dragone on the creation of the Celine Dion show A New Day, and returned to Cirque in 2003 to work on Corteo as the first woman in Cirque’s history to occupy the position of Director of Creation. In 2008, she took on the position of Director of Creation once again with ZED, working with director François Girard for the first time.

    “With Zarkana, we wanted to create a decidedly acrobatic show in which circus arts would take center stage,” says Line Tremblay. “The choice of disciplines, the staging, the set design, projections and choreography all contribute to a major transformation of one of the biggest performance spaces in the world."

    Line Tremblay was born in Hull, Quebec.

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  • ジャン・ラバス(Jean Rabasse)

    セットデザイナー

    Jean Rabasse has worked extensively in cinema, theatre and dance as a set designer and decorator. He has designed the sets for Philippe Decouflé's dance company DCA for more than a decade.

    Jean was nominated for an Academy Award and won the César for his sumptuous, elaborate designs for the 2001 film Vatel. His other film credits include Astérix et Obélix contre César, directed by Claude Zidi, The Dreamers, directed by Bernardo Bertolucci, The City of Lost Children, Delicatessen directed by Caro and Jeunet, Norman Jewison's The Statement and Christophe Barratier’s Faubourg 36, for which he received a César nomination.

    In 2009, he designed the sets for the opera L'Amour de loin, in a staging by Daniele Finzi Pasca, presented by the English National Opera in London.

    A versatile artist, Jean Rabasse reinvents the craft of forms. "I make no distinctions between the disciplines in which I work. In movies I always stress theatrical effects, to give the film soul. In the theatre, I use cinematic elements."

    IRIS is the third Cirque du Soleil show (following Corteo and The Beatles LOVE) for which Jean has designed the sets.

    "Instead of a classic representation of cinema referring to specific films, we wanted to capture the essence of cinema, its original emotion," says Jean Rabasse. “The proscenium of IRIS is a nod to the origins of cinema in Coney Island and the world of Jules Verne, and acts as the gateway to our imaginary world."

    Jean Rabasse was born in Tlemcen, Algeria.

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  • Dominique Lemieux

    Costume Designer

    Dominique Lemieux designed the costumes for all Cirque du Soleil's productions between 1989 and 1998. Every single show—We Reinvent the Circus (1989), Nouvelle Expérience (1990), Saltimbanco (1992), Mystère (1993), Alegría (1994), Quidam (1996), "O", La Nouba (1998) and Corteo (2005)—bears her unique imprint.

    As a costume designer, Dominique does a lot more than simply outfit the artists. Her designs play a key role in creating the fantastic characters that populate the Cirque du Soleil universe.

    With an expert eye, Dominique weaves colors, patterns and fabrics into fabulous costumes. But her choice of material is not strictly guided by aesthetic considerations alone. For Dominique, determining how fibres react to skin, movement, fire or water is of vital importance, and she never loses sight of the artists' needs.

    Dominique's passion for drawing started at an early age and led her to study fine arts at Concordia University. After earning her degree, she worked as an art designer and children's book illustrator. She later enrolled in the set design program at Canada's National Theatre School (NTS), where the courses she took in drawing and costume design took her career in a whole new direction.

    From 1986 to 1988 she worked as an assistant to François Barbeau, one of Montreal's top costume designers and also a teacher at the NTS. During this period, her creations could be seen on stages across the city. Her skills were soon much in demand among directors from every corner of the theatre world in Quebec.

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  • Philippe Leduc

    Composer and Musical Director

    Composer, arranger and conductor Philippe Leduc describes himself as a workaholic, and that is borne out by the sheer volume of his work. His compositions and arrangements have literally been part of the background music of daily life in Quebec since the early 1980s.

    A graduate of the faculty of music at the Université de Montréal, Philippe composed the news theme for the television network Radio-Canada and the soundtrack music for innumerable other highly-rated TV shows, including the Cirque du Soleil production Solstrom.

    Philippe has been in demand as a composer of advertising jingles for a wide variety of national and international accounts. But as prolific as he has been for commercial clients, he has always made time for his own compositions.

    Philippe, who composed for the Cirque du Soleil television series Solstrom, describes his orchestral score for Corteo as "very visceral music," but he is quick to add that there are many ethereal passages and passionate moments, too.

    "I started with the physical," he says. "There is a relationship between the movements of the performers and the music. In a very broad sense the music is operatic. I'm trying to stretch the musical spectrum at Cirque."

    Philippe sees Corteo as a show full of contrasts and musical moods, from solo guitar to an imposing orchestral presence. "It's very beautiful at the end," he says, "but along the way it's funny too. There are surprises and laughter around every corner. There are medieval influences with ancient instruments and traces of the 1930s but it's all very current music."

    In a first for Cirque du Soleil, the music will depend on a great deal of Improvisation. There are several "duels" between a virtuoso violinist and an expert accordionist which will be completely different for every performance.

    Philippe Leduc was born in Montreal.

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  • Maria Bonzanigo

    Composer and Musical Director

    Maria Bonzanigo has worked closely with Corteo director Daniele Finzi Pasca since joining his company Teatro Sunil in 1984 (before it was even known by that name). Her music has been integral to many of the Sunil's best-known shows, including Te Amo and Tres Tristes Tangos.

    Maria has also appeared in Sunil productions as an actress and dancer, and has worked as a director and choreographer too, for her own music and for other composers' works.

    Maria Bonzanigo studied composition with Paul Glass and dance with Rosalia Chladek and went on to develop a highly personal approach of her own to creating music for the stage. In addition to her work for theater, she also composed for the highly-acclaimed Cirque Eloize circus shows Rain and Nomade (which were directed by Daniele Finzi Pasca).

    "Working with Daniele Finzi Pasca for more than 20 years, we created a language together," says Maria. "A way to communicate intimately with the audience and the music is an integral part of that language."

    For Corteo Maria Bonzanigo is sharing the duties of composer with Philippe Leduc. She is concentrating on the portion of the music that is performed by the artists in the show, while Philippe has been developing the orchestral soundtrack compositions.

    "We're taking artists and acrobats and putting them in a show that is more theater than circus," explains Maria. "The music reflects that theatrical aspect of the show. The style is a kind of modern/medieval, with African, Asian and Latin American rhythms. It's new and simple at the same time."

    Maria Bonzanigo was born in 1966 in Lausanne.

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  • Hugo Gargiulo

    Acting Coach - Teatro Sunil

    Acting Coaches Hugo Gargiulo and Antonio Vergamini come to Corteo from Teatro Sunil, the theater and dance company founded by the show's Director, Daniele Finzi Pasca in Switzerland in 1983.

    Motivated by a deep commitment to humanitarian principles, Daniele has placed the tragicomic figure of the clown at the core of Teatro Sunil's productions such as Rituale, Icaro, Aittestás, Visitatio, Te Amo and Tres Tristes Tangos to express a broad range of human experiences and emotions. He has called Sunil's emphasis on sensitivity and the sense of touch "the theatre of caress."

    Hugo Gargiulo and Antonio Vergamini have been key members of the Sunil creative team as actors and directors for many years and have been working closely with all the artists of Corteo (including the musicians) to develop their acting skills and introduce them to the world of the clown.

    "Our challenge was to bring out the fragile side of the acrobats," says Hugo, "and they are more used to putting the spotlight on their strength."

    Working with a large cast has given the two coaches the opportunity to finally realize artistic dreams they have held for a long time. However, many of the artists they are working with have never acted before. "Their lack of experience is a challenge," admits Antonio. "But it also means they are more generous and ready to be open. Above all, our challenge was to bring out the fragile side of the acrobats. We would like each artist to contribute something unique."

    Asked to describe the show, Hugo says there will be many dream-like images and a great deal of humanity on stage. "The artists will not be hidden by their makeup or their costumes, they will be presenting themselves to the audience," he adds. "We wanted the audience to see in their faces the children they once were and the old people they will become."

    Hugo Gargiulo was born in Uruguay in 1965.

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  • Dolores Heredia

    Dramaturgical Analyst - Teatro Sunil

    Acting Coaches Hugo Gariulo and Antonio Vergamini come to Corteo from Teatro Sunil, the theater and dance company founded by the show's Director, Daniele Finzi Pasca in Switzerland in 1983.

    Motivated by a deep commitment to humanitarian principles, Daniele has placed the tragicomic figure of the clown at the core of Teatro Sunil's productions such as Rituale, Icaro, Aittestás, Visitatio, Te Amo and Tres Tristes Tangos to express a broad range of human experiences and emotions. He has called Sunil's emphasis on sensitivity and the sense of touch "the theatre of caress."

    Hugo Gariulo and Antonio Vergamini have been key members of the Sunil creative team as actors and directors for many years and have been working closely with all the artists of Corteo (including the musicians) to develop their acting skills and introduce them to the world of the clown.

    "Our challenge was to bring out the fragile side of the acrobats," says Hugo, "and they are more used to putting the spotlight on their strength."

    Working with a large cast has given the two coaches the opportunity to finally realize artistic dreams they have held for a long time. However, many of the artists they are working with have never acted before. "Their lack of experience is a challenge," admits Antonio. "But it also means they are more generous and ready to be open. Above all, our challenge was to bring out the fragile side of the acrobats. We would like each artist to contribute something unique."

    Asked to describe the show, Hugo says there will be many dream-like images and a great deal of humanity on stage. "The artists will not be hidden by their makeup or their costumes, they will be presenting themselves to the audience," he adds. "We wanted the audience to see in their faces the children they once were and the old people they will become."

    Dolores Heredia was born in Mexico in 1966.p>
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  • Antonio Vergamini

    Acting Coach - Teatro Sunil

    Acting Coaches Hugo Gariulo and Antonio Vergamini come to Corteo from Teatro Sunil, the theater and dance company founded by the show's Director, Daniele Finzi Pasca in Switzerland in 1983.

    Motivated by a deep commitment to humanitarian principles, Daniele has placed the tragicomic figure of the clown at the core of Teatro Sunil's productions such as Rituale, Icaro, Aittestás, Visitatio, Te Amo and Tres Tristes Tangos to express a broad range of human experiences and emotions. He has called Sunil's emphasis on sensitivity and the sense of touch "the theatre of caress."

    Hugo Gariulo and Antonio Vergamini have been key members of the Sunil creative team as actors and directors for many years and have been working closely with all the artists of Corteo (including the musicians) to develop their acting skills and introduce them to the world of the clown.

    "Our challenge was to bring out the fragile side of the acrobats," says Hugo, "and they are more used to putting the spotlight on their strength."

    Working with a large cast has given the two coaches the opportunity to finally realize artistic dreams they have held for a long time. However, many of the artists they are working with have never acted before. "Their lack of experience is a challenge," admits Antonio. "But it also means they are more generous and ready to be open. Above all, our challenge was to bring out the fragile side of the acrobats. We would like each artist to contribute something unique."

    Asked to describe the show, Hugo says there will be many dream-like images and a great deal of humanity on stage. "The artists will not be hidden by their makeup or their costumes, they will be presenting themselves to the audience," he adds. "We wanted the audience to see in their faces the children they once were and the old people they will become."

    Antonio Vergamini was born in Italy in 1967.

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  • Martin Labrecque

    Lighting Designer

    Martin Labrecque’s professional credits include more than 140 theatrical productions, as well as circus shows. Martin contributed to the critical success of several Quebec shows. He has won many Quebec awards for his lighting design in addition to several nominations. Martin Labrecque created the lighting for two critically acclaimed circus shows produced by Cirque Éloize, Rain and Nomade, as well as Cirque du Soleil shows Corteo, KOOZA, Viva ELVIS and Michael Jackson THE IMMORTAL World Tour before KURIOS – Cabinet of curiosities. In 2009, Martin designed the lighting for an eleven-hour show by Canadian author, director and actor Wajdi Mouawad, which was presented in the courtyard of the Palais des Papes in Avignon, France. He also worked on the show Paradis Perdu, directed by Dominic Champagne and presented in Montreal and Belles Soeurs (2011) directed by René Richard Cyr.

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  • ジョナサン・ディーンズ(Jonathan Deans)

    サウンド・デザイナー

    ミュージカルの世界で最も人気の高いサウンド・デザイナーの 1 人と言われるジョナサン・ディーンズは、Viva ELVIS(ビバ・エルビス)の音環境を担当した人物です。Saltimbanco(サルティンバンコ)、Mystère(ミステール)、“O”(オー)、La Nouba(ラ・ヌーバ)、ZUMANITY(ズーマニティ)、KÀ(カー)、Corteo(コルテオ)、The Beatles LOVE(ザ・ビートルズ・ラブ)、KOOZA(クーザ)、Wintuk(ウィントゥック)、CRISS ANGEL Believe(クリス・エンジェル ビリーブ)、そして最新作の OVO(オヴォ)でサウンドスケープをクリエイトしてきたことを通して、Cirque で制作中の作品やチームワークによるクリエイティブなアプローチがかなり刺激的であることを認めています。

    彼は幼い頃、エレクトロニクスに夢中でした。15 歳のときに俳優としてロイヤルシェークスピア劇団に入団し、そこでサウンドへの強い関心が演劇的な要素に溶け込むきっかけとなりました。数年後、音楽業界でサウンド・エンジニアの肩書きを持つようになり、特に Morgan Studios でキャット・スティーブンス、ポール・サイモン、リック・ウェイクマンなどのアーティストと肩を並べて仕事をしたのち、彼はロイヤル・オペラハウス(コベントガーデン)で再び演劇の仕事を手がけるようになり、その後、ミュージカルの「コーラスライン」ではサウンドミキシングを担当しました。彼は次から次へと成功を収め、サウンド・ミキシング・エンジニアとして、「エビータ」、「キャッツ」、「ダウンタウン物語」、「サウンド・オブ・ミュージック」をはじめとする数多くの作品を手がけるようになりました。

    ミキシング・サウンド・エンジニアとしての成功により、彼はミュージカル「マリリン」のサウンド・デザイナーとして雇われることになりました。その後、「タイム」、「レ・ミゼラブル」、「カリブの反乱」、「ジーン・セバーグ」などのウェストエンドのショーを手がけたのち、ブロードウェイで、「ラグタイム」、「フォッシー」、「ダビデ王」、「くたばれ!ヤンキース」、「タブー」、「ブルックリン」、「吸血鬼レスタト」、「パイレート・クィーン」、「ヤング・フランケンシュタイン」の制作に携わりました。

    ジョナサン・ディーンズにとって、Cirque の常設ショーとビッグトップは、それぞれサウンドデザインの面ではまったくの別世界です。「それらはそれぞれに技術的な要求が異なりますが、音楽とサウンドのテクスチャーとレイヤーに関する限りは、いずれも同じです」と彼は言います。「自分の仕事はすべての作品にユニークな環境を創り上げることです。そして、それがどんな環境であっても、作り出される音響によって、観客が別世界に足を踏み入れていることを実感できるようにする必要があると考えます」。

    「ショーには本物のエルビスは登場しませんが、ショーの要素はすべてエルビスに結びついています。そのため、サウンド・システムで視覚と同じ音響効果を生み出すことは大変に重要で、それらはすべてエルビスの名に値するものでなければならないと思います」。「Viva ELVIS の劇場は、彼の偉大な伝説にふさわしく巨大なものです。その課題に対応できるサウンドを作り出すために、床部分にサブウーファーを埋め込み、コンクリート構造自体が持つ低周波の共鳴音を利用して、低周波の音振動を加えることができるようになりました。これはサウンド効果を生み出すだけでなく、文字通り、生演奏に合わせて観客席を動かすものです」。

    ジョナサン・ディーンズは英国で生まれ、現在はニューヨークに在住しています。

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  • Danny Zen

    Acrobatic Equipment and Rigging Designer

    Danny Zen first arrived at Cirque du Soleil in 1990 to work as a welder in the company's workshops. That same year he went on the first European tour of Le Cirque Réinventé, then moved on to Nouvelle Expérience on which he worked as a welder, assembler, mechanic and head usher. In 1992 he toured with Saltimbanco as a tent technician.

    Since 1993 Danny has worked in the continuing development of the Creative Studio at Cirque du Soleil. His innovations as head rigger and technical expert are largely responsible for establishing Cirque's demanding standards in training all its riggers, and maintaining the safety of the performers and technicians at all times.

    Danny has worked at the National Circus School in Montreal and has, over the years, contributed to the design of most of the aerial acrobatic equipment used in the Cirque du Soleil shows Alegría, Mystère, Quidam, Dralion, Varekai, "O", La Nouba and. He was also Head Rigger for Quidam in 1996. In 2008, he designed the rigging and equipment for the acrobatics show at the Quebec City 400th anniversary celebrations.

    Zarkana is Danny Zen’s third engagement as Acrobatic Equipment and Rigging Designer for a Cirque du Soleil show, following Corteo and KOOZA.

    “The acrobatic equipment on Zarkana was designed to blend in with the 1930s-inspired décor of the show,” he says. “The action of the show is set in the same period. I'm fascinated by the curves and organic shapes of that era and I've been inspired by the French Art Nouveau master glassmaker and jeweler Lalique and the Spanish architect and engineer Calatrava."

    Danny Zen was born in Saint-Luc, Québec.

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  • Nathalie Gagné

    Makeup Designer

    Makeup Designer Nathalie Gagné has been fascinated by makeup and its influence on the actor’s craft since her teens. She studied theatre production at Cégep de Saint-Hyacinthe, a community college in Quebec, then went on to become one of the first graduates of the Montreal subsidiary of the famed Paris-based makeup school École Christian Chauveau.

    Before joining Cirque du Soleil, Gagné worked in theatre, film and television. She was twice nominated for a Gémeau award for best makeup, all categories combined. The honor is conferred by the Academy of Canadian Cinema and Television.

    “Makeup is a reflection of the character’s soul. It’s also a magic wand that sweeps away inhibitions,” says Gagné, who since 1995 has crafted more than 200 separate makeup designs for Cirque. Her final concepts were culled from over 2,000 sketches.

    Since Cirque performers have to apply their own makeup, Nathalie Gagné involves them in the actual creation of their onstage look. “Unlike actors, acrobats aren’t used to studying their own faces,” she says. “One of my goals is to get them to do just that, and help them find within themselves what I call ‘lines of force’ that will serve to build their characters.”

    Nathalie Gagné is also responsible for ensuring the integrity of all makeup designs that bear her signature. Since the performers apply their own makeup, workshops in makeup techniques are now part of the general training provided to Cirque du Soleil artists. Gagné first teaches performers how to do their own makeup, and then writes a step-by-step application guide for each of them.

    Nathalie introduced new makeup concepts to the shows Mystère, Alegría and Saltimbanco, which led her to work with director Franco Dragone and costume designer Dominique Lemieux. Following her work on Quidam, “O”, La Nouba, Varekai, Zumanity, KÀ, Corteo, Delirium, LOVE, ZAIA and CRISS ANGEL Believe™ is Nathalie Gagné’s eleventh contribution to the creation of a Cirque du Soleil show.

    "To establish the rich, ripe characters in CRISS ANGEL Believe™, we worked the way we do in film, – designers and artists building together – to invent each of the personalities,” says Nathalie. By using costumes and projections as components of the makeup, we are looking to create a crazy but perfectly credible universe. We wanted to turn the improbable into the plausible. "

    Nathalie Gagné was born in 1963 in Trois-Pistoles, in the Lower St. Lawrence region of Quebec.

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