Cirque du Soleil
Cirque du Soleil
关闭
 
 

新闻空间

 

新闻资料

太阳剧团提供其各种演出的宣传资料及公司的相关信息。

Cirque du Soleil

创始于加拿大魁北克市附近的一个小镇-拜圣保罗。在八十年代早期,有一群各色各样的人游荡在小镇的街道上,有的踩高跷,有的耍把戏,有的跳舞,有的表演吐火,还有的在演奏音乐。他们是 Les Échassiers de Baie-Saint-Paul(拜圣保罗的踩高跷者),由 Gilles Ste-Croix 创建的一个街头剧团。这群年轻的表演者给小镇居民留下了深刻的印象并激起了他们浓厚的兴趣,其中就包括 Guy Laliberté,他之后创建了太阳剧团并担任 CEO。

 
 
 

个人简介

Jaque Paquin

Acrobatic Equipment and Rigging Designer

There’s no formal training for a profession like Jaque Paquin’s. “To do it, you have to do it,” he says. Jaque studied art history (specializing in film) and electronics in school, and began his career in the arts working as a lighting technician at the age of 14. The following year, he opened a disco.

He went on to work as a stage technician in theatre, a set painter in film, a grip in television and, finally, as a carpenter, team leader and project head in a set construction workshop for theatre and variety shows. "I've worked in nearly all of the trades plied by the people who build and operate my equipment," he says. “So I make an effort to facilitate the work of the technicians and the artists.”

Jaque joined Cirque du Soleil in 1990 as head of the construction workshop, where he created aerial environments for such shows as Saltimbanco, Dralion, Varekai, Zumanity, KÀ and “O”. From 1991 to 1996, he was Technical Director for the North American tour of Saltimbanco, and he was the show’s Technical Director when it toured Europe and Japan. In 1995 and 1996, he was director of all installations for the Festival International de Jazz de Montréal and the FrancoFolies de Montréal.

His imagination, artistic flair, and technical skill conjured up the fantastic boat in "O" – a piece of acrobatic equipment that brings together three techniques never before combined in the history of circus arts: the parallel bars, the Korean cradle and the flying trapeze.

Whether working on the rigging for a show or as head of research and development for Cirque du Soleil's acrobatic equipment, Jaque is constantly on the lookout for ways to give a new look to a wide variety of circus arts. However, he says, “There’s never any compromise for safety. If an artistic vision can be achieved only by lowering the safety standards, then that element of the show will be dropped.”

For CRISS ANGEL Believe™, Jaque Paquin has designed the equipment used in the illusions as well as the rigging for all of the scenic equipment (sound, lighting and set decorations). "We’ve developed unprecedented techniques, especially for the magic numbers," he says. “I like to say that this show contains some of my best inventions that I will never be able to talk about."