報道資料

OVO - 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
  2011 年に、ギー･ラリベルテ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年には、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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• Gilles Ste-Croix

  Artistic Guide

  When Gilles Ste-Croix first told his parents he wanted to go into show business they said “Anything but that!” Ste-Croix grew up in rural Quebec, but he was determined not to stay there. He became a hippie and a nomad, living in communes and making the obligatory ‘60s pilgrimage to the West Coast where he lived in communes and audited some drama classes.

  Ste-Croix did try to conform, even working in an architect’s office for a while, but he knew in his heart that he wasn’t cut out for a conventional business career. At the same time, his search for a vocation was not in any way aimless or vague. He says that from his teens he always had a strong drive to succeed and an equally strong desire to entertain. However his entrée into show business came about in a most unusual and unpredictable way.

  In the late 1970s Gilles Ste-Croix was living in a commune in Victoriaville, Quebec, picking apples to make money. One day he mused that the job would be a whole lot easier if he could attach the ladder to his legs—and devised his first set of stilts.

  A friend happened to mention the Bread and Puppet Theater in nearby Vermont, which used stilt-walking as the basis of many of its performances. Ste-Croix went to see the company and realized that his apple-picking skills might actually be in demand in the wider world of entertainment.

  In 1980, Gilles Ste-Croix and a band of street artists founded the Échassiers de Baie-Saint-Paul and organized a street performance festival called the Fête foraine de Baie-Saint-Paul, which would eventually lead to the founding of Cirque du Soleil with Guy Laliberté in 1984.

  In 1984 and 1985, Gilles Ste-Croix designed and performed many stilt acts for Cirque du Soleil. In 1988, he became Cirque's Artistic Director, as well as coordinating a talent search that extended to the four corners of the globe. He was Director of Creation for all of Cirque du Soleil's productions from 1990 to 2000: Nouvelle Expérience, Saltimbanco, Alegría, Mystère, Quidam, La Nouba, "O", and Dralion. In 1992, he directed Fascination, the first Cirque du Soleil show presented in arenas in Japan. He also directed the groundbreaking 1997 dinner/cabaret show Pomp Duck and Circumstance in Germany.

  In 2000, while continuing to act as a consultant for Cirque du Soleil, Gilles Ste-Croix decided to realize one of his greatest dreams: Driven by his passionate interest in horses, he founded his own company to produce the 2003 show Cheval-Théâtre, which featured 30 horses and as many artist-acrobats under canvas and toured ten cities in North America.

  Since December 2002, Gilles St-Croix returned to Cirque du Soleil as Vice-President of Creation, New Project Development. In July 2006 he was nominated Senior Vice-President of Creative Content.

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• Deborah Colker

  Writer, Director and Choreographer

  As a child in her native Brazil, Deborah Colker grew up in a creative environment. Her father was a violinist and conductor and she started piano lessons at the age of eight. “Though I was quite good at it, playing with an orchestra at 14, I soon realized I needed to express my emotions physically as well, through sports for instance,” she says. “I was very passionate and intense and contemporary dance gave me the chance to fit together physical and intellectual emotion.”

  Deborah became a member of Uruguayan choreographer Graciela Figueroa’s Coringa company in 1980. In 1984, she began creating choreographies and directing piece movements for musicals, shows, TV programs, movies and samba schools.

  Wanting to create a choreographic language of her own, Deborah founded her company, Companhia de Dança Deborah Colker in 1994, and created many highly acclaimed full-length dance pieces for it, including Vulcão, Velox, Mix, Rota, Casa and 4 Por 4.

  In Brazil alone Deborah’s individual works have attracted large and loyal audiences. "My work is like Brazil," she says, "the mix of colors, the dynamics and rhythms, the happiness and possibility of a long way of discovery. It's an honor to me that my background is this beautiful, creative, and musical country."

  Deborah’s award-winning work quickly caught the attention of the entire dance world. In 2002, she was invited by Komische Oper in Berlin to choreograph a full program, Casa (a piece originally created for Deborah’s own company in 1999) and Ela. In 2006, she went on to create Maracanã for the Culture Factory of Kampnagel in Hamburg. Deborah became the first Brazilian artist to win the Laurence Olivier Award, one of the most important cultural prizes in the UK, in the “Outstanding Achievement in Dance” category for her choreography MIX in 2001.

  Working with Cirque du Soleil called for a departure from Deborah’s customary way of working. She is used to developing concepts as an integral part of the rehearsal process, but for Cirque 2009 she had to come up with the concepts a year and a half before rehearsals began.

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• シャンタル・トランブレー（Chantal Tremblay）

  創作ディレクター

  1980 年代末、ダンスでのキャリアを求めてニューヨークで暮らしていたシャンタル・トランブレーは、Cirque du Soleil のショーを見て入団を決心しました。彼女は Cirque プロジェクトでダンサーとしてのキャリアをスタートし、後に「Mystère」の作品で振付師のデボラ･ブラウンのアシスタントを務めるようになりました。以降、「Alegría」や「La Nouba」など、多くの Cirque プロジェクトを手掛け、「Mystère」ではアーティスティック・ディレクターを務めました。その後、そうした確固たる実績が認められ、「The Beatles LOVE」と「OVO」のショーでは、創作ディレクターを務めるまでになりました。

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• Gringo Cardia

  Set and Props Designer

  Gringo Cardia, who started out as a gymnast, has earned an enviable reputation as one of the most sought-after designers in the world of performing arts and video in Brazil.

  In his career as a designer, Gringo has successfully integrated the three disciplines he has worked in: architecture, graphic design and theatrical staging. He has also made his mark as a director in film and video as well as a producer in the world of theatre, opera and fashion.

  In 1989, he founded a circus troupe in Brazil before joining forces with Deborah Colker, the director of OVO in 1994. Together, they invented a visual language that owes a great deal to set design. "When I design a set I like to think big, to push the limits,” he says. “I don’t think of scenery as a support for a production. It’s more than mere decoration. It has to be an integral part of the concept of the show to be used and manipulated by the dancers and the actors.”

  This approach has clearly worked. Gringo has designed the sets for over 100 theatrical productions and more than 150 music shows. His 70-plus music videos have won him numerous awards including the MTV Video Award for Best Brazilian Video in 1990. He has also designed hundreds of album covers for the most prominent Brazilian musicians, including Antonio Carlos Jobim and Gilberto Gil. His work has been recognized with more than 20 awards, including the Laurence Olivier Award for Mix, presented by Deborah Colker’s dance company.

  In 2000, Gringo and actress Marisa Orth founded a nonprofit organization named Spectaculu which trains students from underprivileged areas in theatre technical arts. More than 2,000 young people have gone on from Spectaculu to careers in entertainment (www.spectaculu.org.br).

  Gringo Cardia designed and curated the exhibition Amazonia Brazil, which has been touring the world since 2004, and in 2006 he directed the film No Arms for Amnesty International. Among his recent architectural commissions was the design of the Museum of Telecommunications in Rio de Janeiro and the new Minas Gerais Memorial in Belo Horizonte.

  Gringo Cardia regards the design of a Cirque du Soleil set as more like architecture than theatre. "A Cirque show has a lifespan of 10 to 15 years rather than a few months,” he points out. “Cirque emphasizes research and development and constantly pushes the creative limits of technology – and that is a perfect fit with my own approach."

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• Liz Vandal

  Costume Designer

  Liz began her career as a fashion designer in 1988. Her style was inspired by futuristic superheroes and medieval armour. She used materials such as vinyl, plastic and polyurethane to bring her fantastic creations to life.

  In 1990 Liz began working closely with Édouard Lock, founder of the Montreal dance company La La Human Steps. She designed the costumes for his shows Infante c'est destroy (1991), 2 (1995), Exaucé/Salt (1999), Amelia (2002), André Auria (2002) for the Opéra de Paris and Amjad (2007).

  Other choreographers and dance companies turn to Liz regularly because of her ability to combine costumes and body movement. Among others she has worked for la Compagnie Marie Chouinard. Margie Gillis, Bill Coleman, José Navas, O Vertigo, Les Grands Ballets Canadiens de Montréal, the Washington Ballet, the National Ballet of Canada, Mannheim Theater and Stuttgart Ballet (Germany).

  Since founding her own company Vandal Costumes in 1992 with her partner Yveline Bonjean, Liz has created and innovated costumes in the fields of fashion, theatre, opera, music and film. The Backstreet Boys hired her to design the costumes for their Black 'n Blue tour and her work appeared in the films The Lathe of Heaven directed by Philip Haas and La Turbulence des fluides directed by Manon Briand, both released in 2002.

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• Fred Gérard

  Acrobatic Equipment and Rigging Designer

  In 1984, after some eye-opening encounters at Zingaro Circus (France), Fred left a career drilling for oil to tap into circus arts. Among the first to graduate from the National Centre for Circus Arts in Châlons-sur-Marne (France) as a flying trapeze porter, Fred was approached to become a trapeze artist in the Cirque du Soleil show Nouvelle Expérience. Forced to leave the stage following an injury, he became assistant to the show’s director and artistic director. He went on to assume the role of Tour Artistic Coordinator. After a short stint in Europe, he returned to Cirque du Soleil, taking his first steps in acrobatic equipment design for the shows Alegría and Mystère. Working as Head Rigger and training circus technicians at Cirque du Soleil International Headquarters in Montreal, he then took up these duties on several touring shows between 1997 and 2006. With the help of his circus friends, Fred co-founded the Nickel Chrome group in Martigues in the South of France. As a member of this organization, which supports circus projects, he acts as Tent Master/Head Rigger, Artistic Director, Designer or Trainer for circus projects and companies all over the world. Working with Nickel Chrome and Théâtre Europe, he was also involved in the creation and development of the Janvier dans les Étoiles festival in La Seyne-sur-Mer, France. This is the second time Fred Gérard has worked on a Cirque du Soleil show as Acrobatic Equipment and Rigging Designer, after OVO.

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• Berna Ceppas

  Composer and Musical Director

  After only one year of formal education in music Berna Ceppas left school and became involved in various bands as a guitarist before branching out with synthesizers, samplers and computers. At the age of 25 he went back to school to study graphic design, but it quickly became clear to him that music was where he really belonged, as a performer and a composer/arranger.

  In 1994, Berna began working with Deborah Colker, the director of Cirque 2009, and wrote music for all her dance company’s shows. “We developed a kind of symbiosis,” he says. “We’re not just business partners, we’re friends. We know each other very well and we’ve established a way of working together.”

  Working from his own studio in Rio with countless numbers of leading musicians from Brazil and Japan, Berna is a sought-after producer on the mainstream Brazilian recording scene. He is also prominent as a producer of some of the best Brazilian indie pop-rock bands.

  Berna has worked extensively in the film industry since 2000, writing scores for many movies, notably O Passageiro (The Passenger) and Niemeyer A Vida é um Sopro (Niemeyer - Life is a Breath of Air). His work for the Globo television network includes Brasil Legal and Muvuca, and his score for the Discovery Channel series Blast Off was broadcast around the world.

  In 2002, he formed A Orquestra Imperial, a band that became immensely popular, revitalizing the contemporary music scene in Rio de Janeiro and further afield. The band has launched its international career with shows in various European and American cities including Paris, Chicago and London.

  “I don’t really have a signature sound,” says Berna. “For a while I was known for sampling but that was rather limiting. These days my music reflects the needs of each production.” Berna sees himself as a kind of chameleon, constantly adapting to his creative surroundings. “I am always me, but the challenges I set myself are intimately interwoven with those of the other members of the creative team as we converge toward a common goal.”

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• Eric Champoux

  Lighting Designer

  A painter since the age of 16, Éric Champoux has always taken a keen interest in light.

  Since graduating from the National Theatre School of Canada in 1997, Éric has designed the lighting for more than 60 theatre productions in Quebec and Europe. He has worked with such Quebec directors as André Brassard, Gilles Champagne, Alice Ronfard, René Richard Cyr, Claude Poissant and Yves Desgagnés.

  For the last dozen or so years, Éric has worked particularly closely with Wajdi Mouawad, lighting his productions of Rêves, Les Troyens, Le Mouton et la Baleine, The Three Sisters, Incendies, Fôrets, and, most recently, Seuls.

  Éric designed the lighting for Alice Ronfard’s 2006 production Désordre Public at Théâtre Espace Go, where he also lit La Promesse de l'aube and Les hommes aiment-ils le sexe, vraiment, autant qu'ils le disent? created by a collective of writers and directors.

  In his mission to bring the art of the real – and the unreal – to the audience, Éric is constantly seeking to improve his mastery of painting with the medium of light.

  "I paint light onto bodies and objects,” he says. “I create a luminous image on stage exactly the same way I paint, layer by layer, revealing the characters on a canvas of colour. Both results are based on the same approach."

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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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• Philippe Aubertin

  Acrobatic performance Designer

  Inspired by the enthusiasm surrounding the 1976 Olympic Games in Montreal, Philippe Aubertin got started in gymnastics at the age of five. At 18 he was invited to join the national junior team but decided to withdraw from competition because of the physical demands that it imposes. Instead, he became coach at the Gymnastics Centre of Montreal, a position he held until 1999. During his tenure, he was certified by the Canadian Association of Coaches.

  At the same time, Philippe pursued a university education in athletic training, but the appeal of Cirque du Soleil offered him new horizons.

  Cirque's Director of Acrobatic Performance and Coaching, Boris Verkhovsky, hired him in 1999 to train artists at the company’s international headquarters in Montreal.

  Philippe joined La Nouba in Florida as a coach, then took up duties in Japan as head coach on the touring show Saltimbanco. In 2004, he returned to Montreal as Cirque' s head coach before joining Corteo on the road for two years.

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• Julie Bégin

  Makeup Designer

  Julie Bégin's fascination with the transforming power of makeup began as a child. From an early age she experimented on faces and by the time she was 18, she'd left her science studies behind and embarked on her nomadic makeup journey.

  Julie got her first job on a dare. A friend persuaded her to apply for a makeup position while visiting Toronto. Despite the fact that she had no formal training, her talent shone through and she found herself working in a field that proved to be a perfect fit.

  In 1998, after spending more then eight years refining her trade in Europe and Asia, Julie moved to New York to further her career and pursue her interest in arts. She soon attracted the attention of celebrated makeup artist Dick Page and rapidly became a top player on his team working in New York, Milan and Paris.

  The top names in the fashion and entertainment industries quickly began to seek Julie out: Fashion designers like John Galliano, Marc Jacobs and Helmut Lang called on her. She worked with such prominent photographers as Ellen Von Unwerth and Mick Rock on editorial and advertising shoots, and world-renowed singers and celebrities, including Céline Dion and Alanis Morisette.

  Julie's methods are wide-ranging and imaginative. From effortless natural looks to dramatic styles, even when creativity's limits are pushed to the extreme, her main focus in fashion is always to reveal the beauty of a face. "The challenge of designing makeup for a Cirque du Soleil show is to go beyond beauty to reveal character," she says. Every face is a new inspiration, and when it all works you're actually revealing more than the person, you're able to catch a glimpse of their soul."

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