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Cirque du Soleil stelt informatiemappen beschikbaar aan de pers over de verschillende shows en over het bedrijf.

OVO

OVO is een onstuimige tocht door een kleurrijk ecosysteem dat wemelt van leven, waar insecten werken, eten, kruipen, fladderen, spelen, vechten en zoeken naar liefde in een eindeloos verhaal vol energie en beweging. De wereld van de insecten staat bol van de biodiversiteit, schoonheid en tumult, maar kent ook momenten van stille emotie.

Wanneer er een mysterieus ei ten tonele verschijnt, zijn de insecten met ontzag vervuld en intens nieuwsgierig naar dit icoon dat het het mysterie en de cyclus van het leven representeert.

Als een klungelig, eigenzinnig insect zich in de bruisende gemeenschap laat zien en zijn oog laat vallen op een prachtig vrouwtjesinsect, is het liefde op het eerste gezicht. Gelukkig is dat wederzijds.

OVO wemelt van de contrasten. De voorstelling toont de verborgen, geheimzinnige wereld van de grond waarop wij staan, een wereld die tegelijkertijd teder en intens, rumoerig en stil, rustig en chaotisch is. En als de zon 's morgens boven de horizon verschijnt, begint de cyclus van het insectenleven weer van voor af aan.

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Reist rond in Japan

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OVO - Ontwerpers

  • Guy Laliberté

    Oprichter en Creative Guide

    Guy Laliberté is in 1959 geboren in Québec. Deze accordeonist, steltloper en vuurvreter heeft met ondersteuning van een kleine groep mensen het allereerste internationaal vermaarde circus van Québec opgericht. Guy Laliberté, een dappere visionair, herkende en gebruikte de talenten van straatartiesten van het Fête foraine de Baie-Saint-Paul en richtte in 1984 Cirque du Soleil op.

    Guy Laliberté was de eerste die de mix van culturen en artistieke en acrobatische disciplines samenbracht, wat ook vandaag de dag nog kenmerkend is voor Cirque du Soleil. Sinds 1984 staat hij aan het hoofd van het creatieve team en helpt hij de medewerkers bij de ontwikkeling van elke show. Daarnaast heeft hij eraan bijgedragen dat circuskunsten tegenwoordig worden gezien als een belangrijke artistieke discipline.

    Cirque du Soleil is een internationale organisatie; zowel wat betreft de stijl en activiteiten als de invloed die het circus uitoefent. Guy Laliberté staat nu aan het hoofd van een organisatie met activiteiten die zich uitstrekken over vijf continenten.

    In oktober 2007 begon Guy Laliberté aan een tweede project: de ONE DROP Foundation, die tot doel heeft om wereldwijd armoede te bestrijden door mensen van schoon water te voorzien.  Deze nieuwe droom komt voort uit het gegeven dat het recht op water van essentieel belang is om te kunnen overleven en uit de normen en waarden die al sinds de oprichting een belangrijke rol spelen bij Cirque du Soleil:  de gedachte dat het leven alles wat iemand geeft ook weer teruggeeft en dat daarbij zelfs het kleinste gebaar een verschil maakt.

    In september 2009 werd Guy Laliberté de eerste Canadese privéruimtevaarder.  Zijn doel was om mensen bewust te maken van de waterproblemen waarmee de aarde en mensheid te maken hebben. Onder het motto Moving Stars and Earth for Water was de eerste poëtisch-sociale missie in de ruimte een feit. De bedoeling was mensen te raken vanuit een artistieke benadering: een speciale, 120 minuten durende webcast met verschillende optredens in veertien steden op vijf continenten, zelfs in het internationale ruimtestation ISS.

    Belangrijkste awards en onderscheidingen
    In 2012 werd Guy Laliberté opgenomen in de Gaming Hall of Fame van de American Gaming Association. In 2011 werd hij opgenomen in de Canadian Business Hall of Fame. In 2010 kreeg Guy zijn eigen ster op de Hollywood Walk of Fame. In hetzelfde jaar werd Guy door de regering van Québec gepromoveerd van ridder (een titel die hij zes jaar eerder kreeg) tot officier in de Ordre de la Pléiade. De Université Laval (Québec) verleende Guy Laliberté in 2008 een eredoctoraat. Het jaar ervoor won Guy Laliberté de Ernst & Young Entrepreneur of the Year-award in drie categorieën: Québec, Canada en Internationaal. In 2004 ontving hij de Order of Canada, de hoogste onderscheiding van het land, van de gouverneur-generaal van Canada. In hetzelfde jaar werd hij door Time Magazine genoemd als een van de 100 meest invloedrijke personen ter wereld. In 2003 werd hij door de Condé Nast-groep geëerd als onderdeel van het Never Follow Program, een eerbetoon aan uitvinders en innovators. In 2001 werd hij door de Académie des Grands Montréalais uitgeroepen tot 'Great Montrealer'. In 1997 ontving Guy Laliberté de Ordre National du Québec, de hoogste onderscheiding die door de regering van Québec wordt uitgereikt.


    Andere awards en onderscheidingen

    2009
    Lifetime Achievement Award, uitgereikt door de Canadian Marketing Association

    2002
    Vereeuwiging in de Canadese Walk of Fame

    1998
    Visionary Award, uitgereikt door het American Craft Museum (nu het Museum of Arts and Design in New York)

    1996
    Vision nouvelle-award, uitgereikt op het 43e Gala du Commerce (Québec)

    1988
    Personality of the Year, Gala Excellence La Presse (Québec)

    1988
    Entrepreneur of the Year, Les Affaires magazine (Québec)

     

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  • Gilles Ste-Croix

    Artistiek leider

    Toen Gilles Ste-Croix zijn ouders vertelde dat hij de showbusiness in wilde zeiden ze “Alles behalve dat!”. Ste-Croix groeide op op het platteland van Quebec, maar hij was vastbesloten om daar niet te blijven. Hij werd een hippie en een nomade, leefde in communes en maakte in de jaren zestig de verplichte pelgrimstocht naar de Westkust. Daar leefde hij in communes en volgde een paar dramalessen.

    Ste-Croix probeerde zich wel aan te passen en werkte zelfs een tijdje op een architectenkantoor, maar hij wist diep van binnen dat hij niet gemaakt was voor een gewone carrière in het bedrijfsleven. Tegelijkertijd was zijn zoektocht naar een baan absoluut niet doelloos of vaag. Hij zegt dat hij als tiener al een sterke drang had om te slagen en een evenzo sterke drang om te vermaken. Zijn entree in de showbusiness gebeurde op een zeer ongewone en onvoorspelbare manier.

    Eind jaren zeventig woonde Gilles Ste-Croix in een commune in Victoriaville, Quebec. Hij plukte appels om de kost te verdienen. Op een dag bedacht hij dat het werk een stuk makkelijker zou zijn wanneer hij de ladder aan zijn benen kon vastmaken en zo ontwierp hij zijn eerste stelten.

    Een vriend noemde toevallig het Bread and Puppet Theater in het nabijgelegen Vermont, dat steltlopen als basis gebruikte voor veel van haar voorstellingen. Ste-Croix ging langs bij het gezelschap en realiseerde zich dat zijn appelpluk- vaardigheden wel eens gewild zouden kunnen zijn in de grotere wereld van entertainment.

    In 1980 richtten Gilles Ste-Croix en een groep straatartiesten de Échassiers de Baie-Saint-Paul op en organiseerden een straattheaterfestival genaamd het Fête foraine de Baie-Saint-Paul. Dit zou uiteindelijk leiden tot de oprichting in 1984 van Cirque du Soleil met Guy Laliberté.

    In 1984 en 1985 bedacht Gilles Ste-Croix vele steltnummers voor Cirque du Soleil en voerde hij ze uit. In 1988 werd hij Artistiek Directeur van Cirque, evenals coördinator voor een talentenjacht die zich verspreide over de vier hoeken van de wereld. Hij was van 1990 tot 2000 Director of Creation [creatief directeur] voor alle Cirque du Soleil producties: Nouvelle Expérience, Saltimbanco, Alegría, Mystère, Quidam, La Nouba, "O", en Dralion. In 1992 regisseerde hij Fascination, de eerste show van Cirque du Soleil die in theaters in Japan werd getoond. In 1997 regisseerde hij ook de baanbrekende diner/cabaretshow Pomp Duck and Circumstance in Duitsland.

    Terwijl hij in 2000 nog steeds als werkte adviseur voor Cirque du Soleil, besloot Gilles Ste-Croix om een van zijn grootste dromen waar te maken: Gedreven door zijn gepassioneerde interesse voor paarden, richtte hij zijn eigen bedrijf op om de voorstelling Cheval-Théâtre uit 2003 te produceren. Hierin schitterden 30 paarden en acrobaten in een tent en ze reisden langs tien steden in Noord Amerika.

    In december 2002 keerde Gilles St-Croix terug naar Cirque du Soleil als Vice-President of Creation, New Project Development [Ontwikkeling Nieuwe Projecten]. In juli 2006 werd hij benoemd tot Senior Vice-President of Creative Content and New Project Development [creatieve inhoud en ontwikkeling nieuwe projecten]. Op dit moment richt Gilles zich op zijn rol als Creative Guide [creatief leider], naast Guy Laliberté.

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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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  • Chantal Tremblay

    Director of Creation

    At the end of the 1980s, while living in New York pursuing a career in dance, Chantal Tremblay decides to join Cirque du Soleil after having seen one the company’s shows. Chantal started out as a dancer on a Cirque project and then became choreographer Debra Brown’s assistant on the creation of Mystère. Before Michael Jackson THE IMMORTAL World Tour Chantal has worked on many Cirque projects including the shows Alegría, La Nouba and Mystère for which she once was the Artistic Director. Later on her solid credentials helped her land the position of Director of Creation on both The Beatles LOVE and OVO.

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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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  • Jonathan Deans

    Sound Designer

    Jonathan Deans is one of the most sought-after live entertainment sound designers in the world. As a young man, he joined the Royal Shakespeare Company as an actor but had also a keen interest in sound and so began to blend with a theatrical context. Several years later, after a spell as a sound engineer in the music industry, notably at Morgan Studios where he brushed shoulders with artists such as Cat Stevens, Paul Simon and Rick Wakeman, he made his way back to the theatre via the Royal Opera House, Covent Garden, and later went on to mix the sound for the musical A Chorus Line. One success soon followed another, and he became the sound mixing engineer for dozens of London’s West End productions. Jonathan’s success as a mixing sound engineer led to him being hired as sound designer on the musical Marilyn. This was followed by work on other productions as Designer on Time, Les Misérables, Mutiny, Jean Seberg to mention a few. Over a decade later he relocated in America where he has designed systems and productions for theme parks, stadiums, arenas and Broadway productions including Ragtime, Fosse, King David, Damn Yankees, Taboo, Brooklyn, Lestat, Pirate Queen, Young Frankenstein, La Cage Aux Folles, Spiderman, and Priscilla Queen of the Desert. With Michael Jackson ONE Jonathan is creating the sound system and the audio environment of his 14th Cirque du Soleil show since Saltimbanco in 1992.

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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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