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CRISS ANGEL Believe

Criss Angel 与太阳剧团合作,在 Luxor Hotel & Casino 表演魔幻大作 CRISS ANGEL Believe。 最近荣获“世纪魔术大师 (Magician of the Century)”称号的 Criss Angel 呈现其丰厚的魔术功底,使观众无比敬畏和着迷。 此时长为 90 分钟的演出包含迄今为止在舞台上表演的某些最令人惊讶的魔幻场面:从数十年前 Harry Houdini 的大胆演出到 Criss Angel 创作的最新魔幻片段。

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在 Luxor Hotel Casino, 拉斯维加斯, NV 的常驻演出

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CRISS ANGEL Believe - 创作人员

  • Guy Laliberté

    创办人

    Guy Laliberté 1959 年出生于加拿大魁北克市。他是一位手风琴师、高跷艺人和吞火魔术师,和同伴们组成了魁北克第一个国际知名的马戏团。大胆又爱幻想的 Guy Laliberté 慧眼识才,找到拜圣保罗狂欢节上极具才华的街头表演者,与他们一起在 1984 年创立了太阳剧团

    Guy Laliberté 是第一位将文化、艺术与杂技训练相结合的人,而这也成为太阳剧团最重要的特色。自 1984 年起,他带领他的创作团队创作了每场演出,将杂技表演提升到极高的艺术境界。

    太阳剧团以其表演阵容之强,活动范围之广,影响力之大,成为了一个国际大型马戏团。在 Guy Laliberté 带领下,太阳剧团的足迹遍布五大洲。

    2007 年 10 月,Guy Laliberté 成立了一滴水基金会,投身于人生的另一项伟大事业。该基金会的宗旨是让贫困地区民众获得安全饮用水。这个新的梦想源自于饮水权对个人乃至全球社区存亡重要性的认识以及太阳剧团自成立以来一直秉持的价值观:你给予生活什么,生活就回馈你什么。即使一个最微小的举动,也会产生差异。

    2009 年 9 月,Guy Laliberté 成为加拿大第一位私人太空探险家。他的使命是唤起公众对地球水资源短缺的关注。这场史无前例的宇宙演出活动的主题是“撼天动地为水源”(Moving Stars and Earth for Water),被誉为“富有诗意的社会使命”,旨在以艺术的形式赢得世人共鸣:这次网络直播特别节目持续了 120 分钟,各种艺术表演在五大洲 14 个城市(包括国际空间站)同时上演。

    重大荣誉及奖项
    2012 年,Guy Laliberté 入选美国博彩协会名人堂。2011 年,Guy Laliberté 入选加拿大企业名人堂。2010 年,Guy 在富有传奇色彩的好莱坞星光大道上留刻了属于自己的星形奖章。同年,魁北克政府再次授予 Guy 七星勋章,从“骑士”(6 年前授予)上升为“军官”级别。2008 年,Guy Laliberté 获拉瓦尔大学(魁北克)荣誉博士头衔。2007 年,Guy Laliberté 荣获安永年度企业家奖。这项大奖包含三个级别:魁北克、加拿大和国际。2004 年,Guy Laliberté 接受加拿大政府颁发的最高殊荣:加拿大勋章。 同年,他被时代周刊评选为全球 100 位最具影响力人物之一。2003 年,他被 Condé Nast 集团的绝不跟风计划选为创造者和革新者。2001 年,他被 Académie des Grands Montréalais 评为蒙特利尔荣誉市民。1997 年,Guy Laliberté 荣获魁北克政府颁发的最高荣誉魁北克勋章。克勋章。


    其他荣誉及奖项

    2009 年
    加拿大营销协会授予终身成就奖

    2002 年
    入选加拿大星光大道

    1998 年
    美国手工艺博物馆(现为纽约艺术和设计博物馆)授予远见奖

    1996 年
    在第 43 届 Gala du Commerce(魁北克)获新视野奖

    1988 年
    Gala Excellence 新闻(魁北克)年度风云人物

    1988 年
    《法国商务期刊》杂志(魁北克)年度企业家

     

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  • Gilles Ste-Croix

    创作内容高级副总裁

    Gilles Ste-Croix 最初向父母表示有意投身表演事业的时候,他们非常反对,还说道:“绝对不可以!”但在魁北克农村长大的 Gilles,决意要出外闯天下。他成为四海为家的嬉皮一族,在西岸生活了一段日子,期间还旁听了一些戏剧课程。

    Gilles 曾经试图改变,甚至在一家建筑公司工作了一段时期,然而他明白自己终究无法完全投身传统商业,并以此为终身事业。与此同时,他在追寻适合自己的行业方面,也绝非漫无目的。他指出早于少年时候,便一直渴求取得骄人成就,亦一直渴望能够娱乐大众。虽然他醉心娱乐事业,但其入行经过却出人意表。

    上世纪70年代末,Gilles 居住在魁北克省的维多利亚维尔(Victoriaville),依靠採摘苹果來维持生计。有一天,他突发奇想,想到要是能将双腿缚上长梯,便能轻易採摘苹果,这想法最终激发他设计出他的第一对高跷。

    其後一天,一位朋友偶然向 Gilles 提到美国佛蒙特州(Vermont)的面包傀儡剧团(Bread and Puppet Theater)爱以踩高跷作为其众多表演项目的特色所在。Gilles 於是亲自到该剧团观摩,更因此意识到他以踩高跷來採摘苹果的技巧,可能会在娱乐事业中大派用场。 1980 年,Gilles 联同一群街头表演者成立了“拜聖保罗高跷表演团”,其後举办了 “拜聖保罗狂欢节”,向观众呈献多姿多彩的街头表演。及至 1984 年,Gilles 携手 Guy Laliberté 创办了太阳剧团。

    在 1984 及 1985 年间,Gilles 为太阳剧团创作并表演了很多的高跷剧码。1988 年,他开始担任太阳剧团的藝术总监,并在世界各地发掘潜质优厚的人才。1990 至 2000 年间,他升任剧团的创作总监,负责剧团内的所有表演项目的创作,其中包括:

    《Nouvelle Expérience》、《艺界人生》(Saltimbanco)、《飞跃之旅》(Alegria)、《神秘境界》(Mystre)、《奇幻之旅》(Quidam)、《梦幻嘉年华》(La Nouba)、《“O”》及《超越极限》(Dralion)。1992年,他执导了太阳剧团在日本首个於大帳篷内演出的剧码《Fascination》。此外,1997年,德国马戏团餐厅“Pomp Duck and Circumstance”令人拍案叫绝的精彩晚宴表演,也是由Gilles执导,并开创先河。

    2000 年,Gilles 在继续担任太阳剧团顾问的期间,他决定要实现一个伟大梦想:由於他对马匹非��著迷,并因此自创公司,於 2003 年制作了名为《Cheval-Théâtre》的表演剧码,该剧码最大的特色是由30匹马以及众多杂技藝人在巨大帳篷内进行演出。《Cheval- Théâtre》还曾在北美洲十个城市巡回演出。

    2002 年 12 月起,Gilles 重返太阳剧团,担任新项目发展部的创作副总裁,并于 2006 年 7 月获任命为创作内容部的高级副总裁。

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  • Criss Angel

    Star, Writer and Director

    Criss Angel has single-handedly brought about a major resurgence of magic in popular culture. Today, Criss is recognized as one of the most provocative artists in the world. He first became interested in the art at the age of seven. As an adolescent he studied mysticism, music, martial arts and dance and two of his biggest influences were Aldo Richiardi and especially Harry Houdini.

    Criss emphasizes the importance of establishing an intimate relationship with the audience. "Houdini was a pioneer in a lot of ways," he says. "When he performed his straitjacket escape in front of enormous crowds, people identified with him. They felt that if he could escape from a straitjacket maybe they too could escape from their constraints and achieve their dreams. Like Houdini, I like to create moments of wonder. Magic is an art that should provoke and touch people."

    In 1994 Criss made his prime-time television debut in the ABC special Secrets. In 1998 Criss Angel: World of Illusion headlined Madison Square Garden's annual Halloween spectacle. The sold-out 12-day run attracted an audience of over 80,000. His next major project, 600 performances of his critically acclaimed Criss Angel Mindfreak brought a new kind of entertainment to Broadway.

    In October 2002 the television special Criss Angel Mindfreak debuted on ABC Family channel, in which Criss submerged himself – chained and shackled – in a 220-gallon water torture cell. His third one-hour television special, Supernatural, aired on the Sci Fi Channel.

    The undisputed master of street magic, Criss Angel is currently the star and creator of the A&E Network series Criss Angel Mindfreak which premiered in 2005. The illusions have included walking on water, levitating above the Luxor Hotel, floating between two buildings, making a Lamborghini vanish and cutting himself in half in full view of an audience. Mindfreak is the most successful magic show in television history. With it Criss has performed more hours of primetime magic than anyone in history. Criss has received numerous awards and is the first five-time recipient of the coveted Magician of the Year Award (2001, 2004, 2005, 2007 and 2008). Criss has also recently been named "Magician of The Decade" by the International Magicians Society.

    "With CRISS ANGEL Believe, the live show experience will be unlike anything that anybody's ever seen before," says Criss. "It's an experience that truly represents the magic of emotion that members of the audience can connect with and reflect on in their own lives. The images on stage will ignite responses that cause people to reflect – and I think that's the truest form of magic. This show brings to life beyond my wildest dreams an original concept that I created over 15 years ago."

    Criss Angel was born in Long Island, New York.

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  • Serge Denoncourt

    Director

    Serge Denoncourt is known as a true man of the theatre with more than 80 productions to his credit, but he was planning to study medicine when he decided at the age of 18 to audition for the theatre program at a Montreal college called CEGEP Lionel-Groulx. He was accepted, and when he graduated in 1983 he started his career as an actor. In 1987 he demonstrated his inventiveness as a director for the first time, with the play Grand et Petit, by Botho Strauss.

    Cofounder of the Théâtre de l'Opsis in 1984, he has explored the great classics: Molière, Corneille, Gorky and the modern repertoire – Botho Strauss, Bertolt Brecht, Howard Barker – with equal interest. In the Chekhov cycle produced with Opsis in 1999, he added bits and pieces of the actors’ conversations and musings during rehearsals to the Russian author’s text of The Seagull to create the highly acclaimed Je suis une mouette (non, ce n'est pas ça), an original play that carried on a dialogue with itself and with today’s theatre.

    He breathed new life into the Théâtre du Trident in Quebec City as the company’s Artistic Director from 1994 to 1997. He directed several Quebec plays, notably Les Feluettes (2002) by Michel Marc Bouchard, which he remounted at the Espace GO 15 years after its creation.

    Serge Denoncourt is steeped in theatre tradition and known for the visual beauty of his shows, which are typically marked by heightened imagery, vivid use of color and a deep examination of subtext. A versatile artist, Serge also stages operas and even delves into the world of variety shows: He directed the Italian quick-change artist Arturo Brachetti’s show, developed the artistic and visual concept of a show by the Italian singer Eros Ramazzotti and in 2003 re-mounted the Quebec musical Pied de Poule that he first directed in 1991. The same year he was the acting coach for three episodes of the Cirque du Soleil TV series Solstrom.

    With CRISS ANGEL Believe Serge has sought to return a sense of nobility to magic. “I don’t like magic shows in general,” he says. “They lack emotion and any sense of a storyline. I took on CRISS ANGEL Believe from the position of one who doesn’t like those kinds of shows because they treat magic as an end in itself. My aim here is to take magic – and Cirque du Soleil – in a completely different direction.”

    Serge Denoncourt was born in Shawinigan, Quebec in 1962.

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  • Pierre Phaneuf

    Director of Creation

    Pierre Phaneuf seemed destined for a business career before hearing the call of communications and theatre while attending college. He began studying communications at the University of Ottawa, but switched to the theatre department a month later. Impatient to evolve in the milieu of professional theatre, he left university after two years to work as an actor, production manager, stage manager and assistant to the director for companies in Ottawa and northern Ontario. During an assignment at the National Arts Centre in Ottawa, he had a decisive encounter: he connected with the director André Brassard and decided to settle in Montreal.

    In 1986, Pierre Phaneuf earned his degree in production of the National Theatre School (NTS), which marked the beginning of a long love affair with the theatre. As a production manager or director, he worked with major companies such as the Théâtre du Nouveau Monde and the Théâtre de Quat'Sous, in Montreal. In 1990, Guy Laliberté, founder of Cirque du Soleil, offered Pierre the position of deputy director general, which he accepted. But two years later, keen to broaden his experience, he kept up with the world of theater and took in a great deal of theatre, dance and opera in Montreal and abroad. In 1994, he became the production manager of the Opéra de Montréal, and the following year, he assumed the leadership of the production program of the National Theatre School, a role he held for six years, working alongside such prominent figures in the world of Quebec theatre as André Brassard, Monique Mercure and Elizabeth Bourget.

    Pierre Phaneuf rejoined Cirque du Soleil in 2000, this time as tour director of Quidam, Varekai and Saltimbanco. Wanting to settle in Montreal, he accepted the position of senior director of tour operations, and then assistant vice president, performance quality In January 2008, he was appointed vice president, creation at Cirque du Soleil.

    "At Cirque du Soleil, the director of creation seeks to maintain and protect the creative spirit," says Pierre Phaneuf, “to preserve the creative process, which is organic and non-static. The degree of freedom we offer creators is enormous. We must accompany them to unknown territories, frame their approach and ‘set fires’ in controlled circumstances so they can excel.”

    CRISS ANGEL Believe is Pierre Phaneuf’s first Cirque du Soleil assignment as director of creation. "At Cirque, we are never far from our original goal to push our borders. This is also the case with CRISS ANGEL Believe. Criss Angel has a very sharp sense of adventure and risk. LUXOR marks Cirque’s first foray into the field of magic. Like the circus, magic is a source of wonder, amazement and the unexpected. We must put aside reason and surrender completely to the intensity of emotion."

    Pierre Phaneuf was born in Saint-Hyacinthe, Quebec, in 1960.

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  • Christiane Barette

    Associate Director of Creation

    Everything in Christiane Barette’s background predisposed her to a career in the arts. Born into a family that placed a premium on artistic expression, culture and the interaction of ideas, she became – at a very early age – interested in classical music, reading and theatre, and spent a lot of time exploring museums and art galleries.

    After obtaining a bachelor’s degree in translation from the Université de Montréal, Christiane studied political science at the Université du Québec à Montréal and then pursued her interest in the history of art and Italian culture.

    Christiane Barette was attracted to the circus aspects of street performance and joined the National Circus School in Montreal, where she worked as director of marketing and communications for seven years. She then moved to Holland, where she made her living researching artists on behalf of private companies.

    When Christiane came back to Montreal, Guy Caron, the director of creation for Cirque du Soleil invited her to become his assistant. She first worked on research pertaining to the creation of the show KÀ, directed by Robert Lepage. She remained as assistant to the director of creation until the delivery of KÀ in February 2005.

    Back in Montreal following the premiere of KÀ, Christiane assisted Guy Caron and Fernand Rainville, co-directors of the Cirque-produced show for the opening ceremonies of the MONTREAL 2005 - XI FINA WORLD CHAMPIONSHIPS. She then undertook research on other themes for potential shows including the project scheduled to open in Dubai in 2010.

    CRISS ANGEL Believe is Christiane Barette’s first Cirque du Soleil production as director of creation. “Creation is the driving force at Cirque,” says Christiane. “The role of the director of creation is to demystify the process, which is highly complex, to simplify it and bring it down to a human scale. The goal: to let the creators create. With CRISS ANGEL Believe we want to change the way people think of magic and present it as an art form. The show is a surreal journey into the subconscious of a character with magical powers who sets out on an out-of-this-world rollercoaster ride.”

    Christiane Barette was born in Montreal.

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  • Ray Winkler

    Set Designer

    Ray Winkler started out as a carpenter and qualified as a furniture craftsman before turning to his family’s tradition and studying for five years to obtain a master’s degree in architecture (from University College, London). He became interested in set design while doing postgraduate studies in California , drawn by its ephemeral nature as opposed to the durability and permanence of conventional buildings.

    He has been working as an entertainment architect/designer at The Mark Fisher Studio since 1997. “It was supposed to be a six-week stint,” he says. “But I'm still here!” In that time, Ray has designed sets for countless live TV shows, including MTV Icons, the MTV Movie Awards, the EMAs in Edinburgh , Rome , Lisbon and Copenhagen , the BRITS in London and the NFL Super Bowl in Detroit .

    He has also worked on tours for U2 and the Rolling Stones, and designed shows for Johnny Hallyday at the Eiffel Tower and the Olympia Theatre in Paris , and multimedia spectacles for Jean-Michel Jarre at the Great Pyramids in Giza and the Acropolis. His recent work includes the Robbie Williams Close Encounters arena and stadium tour, the worldwide design of the nine ‘Live Earth’ stages and the Take That arena tour. He recently completed a multimedia outdoor show for Universal Studios Japan, which opened in Osaka in spring 2008.

    He is also the production designer for the 2012 London Olympic Handover Ceremony at the closing ceremony of the 2008 Beijing Olympics.

    “Architecture involves the relationship between structure, space and people, all of which come to fruition with Cirque du Soleil, because it brings together many different disciplines to create a show. The challenge with CRISS ANGEL Believe is: How do you make magic truly magical in the context of a theatre? There’s been a very interesting learning curve on my part in understanding the basic techniques and requirements for magic, and discovering just how much effort it takes for Criss Angel to do things seemingly effortlessly.”

    Ray Winkler was born in 1967 in Jakarta , Indonesia.

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  • Mérédith Caron

    Conceptrice des costumes

    Au Québec comme à l’étranger, Mérédith Caron a imprimé sa marque au théâtre, au cinéma,  à l'opéra et au cirque. Avec plus de 175 collaborations à son actif, Mérédith est l’une des figures de proue du domaine de la création de costumes au Canada. Elle a travaillé auprès de metteurs en scène émérites, dont Pierre Bernard, Serge Denoncourt, Robert Lepage, Martine Beaulne, René Richard Cyr, André Brassard, Daniele Finzi Pasca et Richard Monette au prestigieux Stratford Festival, en Ontario. Au fil de ses collaborations, Mérédith Caron accumule les prix et les distinctions au Québec, dont un Gémeau, sept Gascon-Roux et deux Masques. Depuis près de 20 ans, elle enseigne l’histoire de l’art et la conception de costumes à l’École nationale de théâtre du Canada à Montréal. En 1988, elle collabore pour la première fois avec le Cirque du Soleil en dessinant des costumes dans le cadre d’un projet en développement. Après CRISS ANGEL Believe, Mérédith participe pour la troisième fois à un projet du Cirque du Soleil.

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  • Éric Serra

    Composer, Musical Director and Arranger

    Eric Serra began to play the guitar when he was five years old. He went on to master the drums, bass, percussions and keyboards, and formed his own band at the age of 15. A year later he became a professional musician playing with such prominent artists as Didier Lockwood, Youssou N’Dour, Mory Kanté and Jacques Higelin.

    The turning point in Eric’s career came at the beginning of the 1980s when he met French film director Luc Besson, who asked him to compose the score for his first short film titled L'Avant Dernier (1981) and later, his first feature film The Last Combat (1983). Since then, he has written the music for every Besson film (Subway, The Big Blue, La Femme Nikita, Atlantis, Léon aka The Professional, The Fifth Element etc.).

    From 1980 to 1988, Eric was musical director and bass guitarist for French singer rock star Jacques Higelin and released a pop music album entitled RXRA – whose title sounds like the artist's name when pronounced as initial letters in French.

    In addition to his film work with Luc Besson, Eric has composed the music for Kamikaze (1986) directed by Didier Grousset, Rollerball (2001) by John McTiernan, Jet Lag (2002) by Danièle Thompson and Paul Hunter’s Bulletproof Monk (2003). Between 2003 and 2005, he worked on several collective projects, producing and co-composing the soundtracks for L’Art délicat de la séduction directed by Richard Berry and Wasabi directed by Gérard Krawczyk. Also, together with Phil Collins, Eric produced the French versions of Walt Disney’s Tarzan songs.

    CRISS ANGEL Believe has a distinctive look, tone and mood, and Eric Serra says his music has been written and arranged to blend with the visuals and with the personality of Criss Angel. “It’s very varied,” he adds. “There’s a lot going on and it’s all very rich. There are rock moments that reflect the Criss Angel we’re all familiar with, but other parts of the show are very classical, even symphonic in tone, and there are some ethnic, tribal passages too. The fact that the show is a kind of dream means we are inside his spirit and that gives me great freedom and an extremely broad palette.”

    Eric Serra was born in 1959 near Paris.

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  • Jeanette Farmer

    Lighting Designer

    Jeanette Farmer is a native Las Vegan. She first developed her strong interest in theatrical lighting and set design when she was still in high school. She went on to attend the University of Nevada Las Vegas under a theatre design scholarship program while also attending Clark County Community College taking classes in welding, industrial electricity, electronics and computer drafting.

    After a few years of set and lighting design and stagecraft work on The Las Vegas Strip, Jeanette became one of lighting designer Andrew Bridge’s assistants on the groundbreaking production of “Siegfried and Roy at the Mirage.”

    It was through that engagement that Jeanette was introduced to a then little-known touring company that needed help setting up their show in a tent behind the Mirage. That show was Cirque du Soleil’s Nouvelle Experience and it was Jeanette’s first opportunity to work with acclaimed lighting designer Luc Lafortune. “I met all these crazy French Canadian artists and amazing creators and fell in love!” she says. “I knew I'd found my home.”

    Jeanette has dedicated the last several years to Cirque du Soleil honing her skills as an electrical consultant, lighting director and master electrician as she contributed to every one of Cirque's growing repertoire of permanent shows in Las Vegas: She consulted on the electrical and building infrastructure and lighting for Mystère, “O”, Zumanity, KÀ and LOVE.

    Throughout her career Jeanette has volunteered in the education of young theatre technicians through her work with the Thespian Society, the Educational Theatre Association, the Lighting Dimensions Conference Advisory Board, served as a Subject Matter Expert for ESTA’s ETCP certification test and acted as a sponsor for Cirque du Soleil’s college internship program.

    “I've been challenged with the lighting design for CRISS ANGEL Believe to create something that has an old world feel,” she says. “We’ll be using all the latest modern technology to evoke a bygone era. We will challenge your senses by revealing through lighting that there is nothing up our sleeve and then take away your comfort by presenting the impossible.”

    Jeanette Farmer was born in 1964 in Las Vegas.

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  • Wade Robson

    Choreographer

    Wade Robson is just 25 and he’s already accumulated 20 years of experience under his belt as a major creative force. Recognized worldwide as an artist of truly exceptional genius and brilliance, Wade has choreographed and directed music videos, commercials, award shows and world tours for recording artists. He created, produced and starred in MTV’s hit series The Wade Robson Project and has written, choreographed and directed commercials for his own line of footwear, as well as award-winning short films.

    Born in Australia, Wade made his professional début as a dancer at the age of five. He and his family then moved to America when he was nine to pursue his career in the entertainment business. Before he turned ten he had danced and acted in Michael Jackson videos, multiple commercials, films and TV shows.

    At the age of 12, Wade began teaching dance at the Millennium Dance Complex in North Hollywood, CA. This led to his first professional choreography job for MCA recording artists Immature. He began to create a dance style that was all his own, accompanied by his own original music.

    When Wade was only16 he was asked to choreograph Britney Spears’ 1999 world tour and to write, direct, remix the music, direct the video segments and co-design the sets for her appearances on the Billboard Awards, both the American and European MTV Video Music Awards and her Dream Within a Dream world tour and HBO special . These assignments led to the same job description with NSYNC. He went on to write and produce music for such recording artists as Britney Spears, NSYNC, Justin Guarini, Dream, The Backstreet Boys, James Ingram and Carly Simon, and he has also choreographed for Usher, Mya and Pink.

    Wade won an Emmy in 2007 for his groundbreaking work on Fox’s SO YOU THINK YOU CAN DANCE.

    CRISS ANGEL Believe is the first Cirque du Soleil show Wade has worked on. “A lot of the style, the emotion behind the movement, is really primal and raw,” he says. “The dance is character and story driven and that is my most favorite place to create from.”

    Wade Robson was born in Brisbane, Australia in 1982.

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  • Francis Laporte

    Images and Projections Designer

    Video Projections Designer Francis Laporte belongs to the new generation of creators who integrate digital video production and projection technology with more traditional live show forms. Since finishing university in 1992, he has worked on some 20 projects integrating video with the performing arts and theatre. One of his landmark professional assignments was the video design for a stage adaptation of Homer’s Odyssey directed by Dominic Champagne. He also does performances and installations, both alone and with other artists.

    As a projections designer, Francis Laporte can make good use of his diverse training. After studying communications and drama in college, he entered the theatre program at the Université du Québec, specializing in directing and stage design. His interest in images led him to video and multimedia production. “In drama, I looked at shows from the director’s point of view, whereas in video my approach was more theatrical. As a video designer for live shows, I’m finally working on bringing these media together,” he says.

    Francis Laporte also creates images for prestigious television broadcasts, such as the opening ceremonies of the Jeux de la Francophonie and the awards ceremony La Soirée des Jutra. In 2003-2004 he developed the visual concept for Eros Ramazzotti’s show (directed by Serge Denoncourt) and created the set design and visual concept for a performance of the Fantastic Symphony by Berlioz at the Walt Disney Concert Hall in Los Angeles. He has also taken on the stage design for live concerts, including Quebec singer-cellist Jorane and singer-songwriter Stefie Shock.

    In 1999, Francis Laporte created the multimedia overture for Dralion. But Varekai was the first Cirque du Soleil show to fully incorporate this new artistic language. He further extended his approach in LOVE, Wintuk and now in CRISS ANGEL Believe. “At Cirque du Soleil, we have the great good fortune of working in a context where everything isn’t seen in terms of constraints; instead there’s a shared determination to see how far we can push the limits,” he notes.

    "Visually, my role is to give the dimension of perspective and depth to the world of CRISS ANGEL Believe," says Francis Laporte. “The projections help to give the various environments a ‘Gothic/Victorian' flavor by blending the mysterious with the grandiose, the bizarre and the sublime. The core intention of the projections is to play with the perceptions, creating a kind of playful dialogue between the real and the virtual."

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  • 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."

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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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  • André Simard

    特技表演设计师

    André Simard has been working with Cirque du Soleil since 1987. That year, he created a swinging trapeze act for the show Nouvelle Expérience, sparking a genuine revolution in high-flying aerial movement. Under his direction, the acrobatic feats performed by artists in motion somewhere between Earth and sky, either in a theatre or under a big top, achieved the fluidity of ballet. Between 1989 and 2000, 13 of the acts he created for Cirque du Soleil, the National Circus School and his own company of artists, Studio de création les gens d'R, garnered accolades in festivals attended by the finest circus artists from all over the world.

    The new circus arts are indebted to Simard for his creation of the discipline of aerial silk acrobatics in 1995. Another example of technological and choreographic innovation, stemming from his collaboration with acrobatic apparatus designer Jaque Paquin, was the Boat act in "O". As well, Simard has designed most of the aerial acts in the shows that Cirque performs around the world.

    For over 30 years, André Simard has succeeded in striking a harmonious balance between his three areas of expertise: the fine arts, elite sports, and the circus. In the early 1970s, he was a member of Canada's national gymnastics team while a student at the Institut des arts graphiques de Montréal. In addition, while preparing to compete in the 1972 Summer Olympics in Munich, he trained clowns and other public entertainers at the Centre Immaculée-Conception in Montréal, a forerunner of the National Circus School. In his own words, he is "constantly trying to meld the rules of biomechanics, as applied to athletic training, with the evocative power of the performing arts." This approach has also infused his teaching at the National Circus School, as well as at the Centre national des arts du cirque de Châlons-sur-Marne and the École nationale de Cirque de Rosny-sous-Bois, both in France.

    In 1995 he founded the Studio de création les gens d'R in Montréal, an artistic endeavor that affords him the opportunity to push the envelope of emotional expression through aerial movement. In 2001 this troupe gave the world premiere performance of Échos in Venice. The show was commissioned by the organizers of that city's celebrated Biennale arts festival.

    "For CRISS ANGEL Believe, I’ve come up with a way for the dervish characters to spin by hiding ropes inside their costumes," he says. "I've also introduced acrobatic elements into the stilt walkers’ dance numbers, and I’ve devised a motorized acrobatic mechanism for the character of Kayala: When she emerges from her flower to do her hoop routine, she grabs hold of the petals, which in reality are made out of transparent flexible PVC tubes built into her costume."

    André Simard was born in 1945 in Montreal.

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  • Michael Curry

    Props and Scenic Designer

    Puppet Designer Michael Curry works widely in both conceptual and technical development with the foremost entertainment companies such as the Metropolitan Opera, London's Royal National Theatre, Disney Theatrical Productions, LA Opera, and Universal Pictures. Michael has been the recipient of many prestigious awards from his peers, including several awards for his puppet and costume work on Broadway, Olympic ceremonies as well as his continuing innovations in the fields of visual effects and puppetry design. He has collaborated with Julie Taymor on many stage and opera productions. Among his numerous awards, he received the 1998 Drama Desk Award for Outstanding Puppet Design in recognition of his work for Taymor on The Lion King. Michael’s other credits include an opera directed by Robert Lepage at the Paris Opera, an opera at La Scala, Milan, directed by William Friedkin, and the Broadway production of Spider Man with music by Bono and Edge, directed by Julie Taymor. After KÀ, The Beatles LOVE, Wintuk and CRISS ANGEL Believe, Michael Curry collaborates with Cirque du Soleil for the fifth time with Michael Jackson THE IMMORTAL World Tour.

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  • Nathalie Gagné

    化妆设计师

    化妆设计师 Nathalie Gagné 从小就对化妆著迷,并深信化妆对演员表演的影响。Nathalie 在加拿大魁北克省的 Cégep de Saint-Hyacinthe 攻读戏剧制作专业,其後成为巴黎著名的化妆学校 École Christian Chauveau 蒙特利尔分校的首届毕业生。

    Nathalie 在加入太阳剧团之前,曾在一些剧团、电影及电视机构工作。她曾两度获得 Gémeau 奖项(所有类别)的最佳化妆类别提名。这项荣誉是由加拿大电影及电视学院(Academy of Canadian Cinema and Television)所颁授。

    Nathalie 说:“化妆是表演角色灵魂的反映,它犹如魔杖一样,能挥走一切被掩盖的东西。”自 1995 年起,Nathalie 为太阳剧团设计超过200多款不同类型的化妆,而最终设计都是从 2,000 多个草图中精选出來的。

    由於太阳剧团的表演者均需要自行化妆,Nathalie 会邀请他们一同參与台上的化妆创作。Nathalie 说:“由於杂技表演者有别于一般演员,他们不习惯进一步了解自己的脸孔,我其中一个工作目标就是教晓他们了解自己的脸孔,帮助他们找出自己脸上的‘引力纹理’(lines of force),以建立他们的个人特质。”

    Nathalie 同时还负责确保所有妆容都富有她的特色与及完整性。由於表演者都需要自行化妆,因此化妆技巧工作坊成为太阳剧团为表演者提供的基本训练的一环。Nathalie 会先教会表演者如何自行化妆,然後为他们每个人写下应用步骤。

    Nathalie 在《神秘境界》(Mystère)、《飞跃之旅》(Alegría) 及《藝界人生》(Saltimbanco)中运用了全新的化妆概念,这促使她与导演 Franco Dragone 及服装设计师 Dominique Lemieux 的密切合作。继《奇幻之旅》(Quidam)、《“O”》、《梦幻嘉年华》(La Nouba)、《Varekai》、《人类动物园》(ZUMANITY)、《KÀ》、《欢宴人生》(Corteo)、《虚拟幻境》(DELIRIUM) 和 《LOVE》後, 《MACAU》将成为她与太阳剧团的第十个制作。

    Nathalie 说:“我透过多姿多彩的化妆设计,刻画了《ZAIA》中不同角色的人性特徵。同时,我还希望塑造出几类具有‘家族’特徵相貌的妆容,以突显不同的族群。由於部分表演者担领多个角色及需要迅速变换扮相,为他们变换妆容实在是一个挑战。因此,我运用了许多自然色调的面谱,让表演者更容易添加或抹去相关化妆,以满足不同的需求。”

    Nathalie 於 1963 年生於魁北克省的 Trois-Pistoles。

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