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太阳剧团提供其各种演出的宣传资料及公司的相关信息。

Dralion

利用太阳剧团的综艺方式熔化拥有 3000 年历史的中国杂技艺术,超越极限 (Dralion) 从东方哲学和其对人类与自然之间的和谐共处的永无止境的寻求当中获得灵感。该演出的名称来源于其两个标志性生物: 龙,象征东方;狮子,象征西方。

Dralion 中,管控自然规律的四大元素披上了人类的外形。因此,被形象化的每个元素都由其各自的唤起色表示: 空气是蓝色;水是绿色;火是红色;大地是赭色。在 Dralion 的世界里,各种文化相融合,人类与自然合为一体,并且平衡得以实现。

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美国, 加拿大 的巡演

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Dralion - 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��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:由於他对马匹非常著迷,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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  • Guy Caron

    导演

    Caron was Cirque's first Artistic Director when the company was created in 1984. He is also the founder of Montreal 's National Circus School. After an absence of a few years to pursue other interests, he returned to Cirque in 1998 to direct Dralion (1999) and work as Director of Creation on KÀ (2004).

    Guy Caron is one of the main pioneers of the rebirth of the circus arts. In 1975, when no circus existed in Quebec, Guy Caron left for Hungary and studied for three years at the École de cirque de Budapest. In 1981, he founded the École nationale de cirque de Montréal with Pierre Leclerc. He was its executive director for ten years.

    He regularly seats on the juries of many circus festivals all over the world. From 1987 to 1989, he was the executive director of the Centre national des arts du cirque de Châlons-en-Champagne, in France. Since 1992, he has been a consultant and director for well-known circuses in Switzerland, France and the United States. In 1996, he directed three acts that won the Clown d'Or award at the Festival de Monte Carlo. These acts were performed by members of the Swiss family Knie.

    Guy Caron came to the circus arts through a fortuitous encounter with clowns Rodrigue Tremblay and Sonia Côté, alias Chatouille and Chocolat, in the 1970s. With them, he went to Hungary, and once back in Montreal, he was at the forefront of the public entertainers who were precursors to Cirque du Soleil. He owes his vocation as an actor to his mentor, man of theatre Paul Buissonneau. "He gave me everything: my tools as an actor, my first professional job, and even, quite often, his theatre, the Quat'Sous," he says.

    Circus arts are far from being the only field where Guy Caron has left his mark. He has four times been a member of the creative team for Quebec singer Diane Dufresne's shows. He has also worked on scenarios and as an artistic director or director for many forms of variety shows, especially cabarets, musicals, singing and magic.

    Guy Caron has also taken university courses in performance arts administration. This education has served, among other things, to help him sit for four years on the board of directors of the École nationale de cirque de Montréal and for three years on the board of the Festival mondial du cirque de demain, in Paris.

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  • François Barbeau

    服装设计师

    Costume designer, director, and teacher François Barbeau is one of the most renowned and respected stage artisans in Canada. In 1998, he joined the team of designers behind the Cirque du Soleil show Dralion, and this creation earned him an Emmy in 2001, awarded by the Academy of Television Arts & Sciences for "Outstanding Costumes for a Variety or Music Program." His association with Cirque du Soleil continued in 2004 when he designed the costumes for the opening ceremonies of the XIth FINA World Championships in Montreal.

    In his career, François Barbeau has designed costumes for hundreds of plays, ballets, and operas presented in Canada, the United States, France, Switzerland, and Israel. He has also directed over fifty plays in Montreal and Toronto since 1984. In 1987, he created the costumes for the opera The Rake's Progress directed by Robert Lepage and presented at the Monnaie theatre in Brussels, Belgium.

    François Barbeau was the official costume designer at the Théâtre du Rideau Vert in Montreal for many years. He also works regularly, as costume designer or director, with many other major companies in Montreal, including the Théâtre du Nouveau Monde, the Nouvelle Compagnie Théâtrale, Quat'Sous, the Centaur, the Compagnie Jean-Duceppe, and the Théâtre d'Aujourd'hui, as well as the National Arts Centre in Ottawa.

    He features, as costume designer or artistic director, in the credits of dozens of Quebec films and television programs. His talent is recognized by French directors as well: Louis Malle called on him for Atlantic City and he worked with Gérard Depardieu on Tartuffe. In 2004, he created the costumes for Jean Beaudin's feature film Nouvelle-France, for which he received the Jutra award for "Best Costumes."

    From 1962 to 1987, François Barbeau also played a key role in training the new generation, as a teacher at the National Theatre School of Canada and then as director of the school's Scenography Program. His emulators include Dominique Lemieux, Michel Crête and Stéphane Roy, all designers at Cirque du Soleil.

    In 2000, François Barbeau received the Order of Canada, the country's highest distinction. His lifetime achievement has also been recognized with an honorary Masque from the Académie québécoise du théâtre, the Governor General's Performing Arts Award, and the Prix Victor-Morin of the Société Saint-Jean-Baptiste of Montreal. In 2007, the Université du Québec à Montréal granted him an honorary doctorate for his outstanding contribution to the improvement of performing arts and culture in Quebec.

    He has been awarded abundant other prizes and distinctions in the fields of theatre, film, and television.

    François Barbeau was born in Montreal.

    In his career, François Barbeau has designed costumes for hundreds of plays, ballets, and operas presented in Canada, the United States, France, Switzerland, and Israel. He has also directed over fifty plays in Montreal and Toronto since 1984. In 1987, he created the costumes for the opera The Rake's Progress directed by Robert Lepage and presented at the Monnaie theatre in Brussels, Belgium.

    François Barbeau was the official costume designer at the Théâtre du Rideau Vert in Montreal for many years. He also works regularly, as costume designer or director, with many other major companies in Montreal, including the Théâtre du Nouveau Monde, the Nouvelle Compagnie Théâtrale, Quat'Sous, the Centaur, the Compagnie Jean-Duceppe, and the Théâtre d'Aujourd'hui, as well as the National Arts Centre in Ottawa.

    He features, as costume designer or artistic director, in the credits of dozens of Quebec films and television programs. His talent is recognized by French directors as well: Louis Malle called on him for Atlantic City and he worked with Gérard Depardieu on Tartuffe. In 2004, he created the costumes for Jean Beaudin's feature film Nouvelle-France, for which he received the Jutra award for "Best Costumes."

    From 1962 to 1987, François Barbeau also played a key role in training the new generation, as a teacher at the National Theatre School of Canada and then as director of the school's Scenography Program. His emulators include Dominique Lemieux, Michel Crête and Stéphane Roy, all designers at Cirque du Soleil.

    In 2000, François Barbeau received the Order of Canada, the country's highest distinction. His lifetime achievement has also been recognized with an honorary Masque from the Académie québécoise du théâtre, the Governor General's Performing Arts Award, and the Prix Victor-Morin of the Société Saint-Jean-Baptiste of Montreal. In 2007, the Université du Québec à Montréal granted him an honorary doctorate for his outstanding contribution to the improvement of performing arts and culture in Quebec.

    He has been awarded abundant other prizes and distinctions in the fields of theatre, film, and television.

    François Barbeau used highly unusual reflective materials in his costumes to capture the essence of the characters that evolve in the icy and frosty realm of Wintuk. Under his watchful eye, Cirque du Soleil's costume department turned into a full-fledged research lab for many months. "I wanted to move out of familiar waters with Wintuk, particularly in the area of materials and textiles," he notes.

    François Barbeau was born in Montreal.

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  • Stéphane Roy

    Set Designer

    A graduate of the National Theatre School of Canada, Stéphane Roy has worked as both a set designer and artistic director on over 100 productions in Montreal and abroad. While mainly active in theatre and dance, he has also worked in film, television, advertising and variety shows.

    Over the years Stéphane’s career has led to close working relationships with a number of directors and arts companies: He created the sets for several plays presented at Espace Go and the Théâtre du Nouveau Monde in Montreal and since 1990 he has designed sets for dance productions by such internationally-acclaimed dance troupes as La La La Human Steps and O Vertigo.

    Given that professional background, plus an architect father, a mother active in theatre and a unique social and artistic approach to performance space, it was perhaps inevitable that Stéphane would gravitate toward Cirque du Soleil, a relationship that began with the creation of Dralion, and continued with Varekai, Zumanity, KOOZA and now, Zarkana.

    Since 2011, Stéphane has been one of three artists in residence appointed by the Montreal Nature Museums group to create organic links between the city’s four natural science museums. He also designed The Warrior Emperor and China’s Terra Cotta Army exhibition at the Montreal Museum of Fine Arts.

    His achievements have earned him many awards and honors, including being named Revelation of the Year, All Categories Combined, by the Association Québécoise des Critiques de Théâtre in 1989. In 1992, the same association honored him with the award for best set design. His talent has also been recognized by the Conseil des Arts de la Communauté Urbaine de Montréal, the Academy of Canadian Cinema and Television and the Académie Québécoise du Théâtre.

    "In the lyrical, fantastic world of Zarkana, the setting, an abandoned decrepit theatre, is a character in its own right,” says Stéphane Roy. “The walls breathe, move and sing. In terms of aesthetics, we are at the beginning of the last century, between 1910 and 1930, midway between Gaudí, Klimt and Art Nouveau. The organic shapes are a nod to the master French glassmaker and jeweler René Lalique."

    Stéphane Roy lives in Montreal.

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  • Luc Lafortune

    Lighting Designer

    In directing the lighting for the show KÀ, Luc Lafortune is contributing to his twelfth creation with Cirque du Soleil. He has been associated with Cirque du Soleil since its beginnings in 1984. That year, he was hired as a lighting technician backstage. The following year, he was at the lighting control booth for the young troupe's eight-month tour. In 1986, he became the lighting designer. Since then, his lighting creations have toured the world.

    At Cirque du Soleil, his creator's resumé includes the shows We Reinvent the Circus, Fascination, Nouvelle Expérience, Saltimbanco, Mystère, Alegría, Quidam, "O", La Nouba, Dralion, Varekai and Zumanity. He was also co-director of photography for the video recording of the show Quidam.

    In 2002, he worked with director Robert Lepage to design the lighting for British singer Peter Gabriel's world tour, Growing Up. Many other internationally successful artists and groups have called upon his talents. Since 1996, he has worked with, among others, No Doubt, The Eagles, Gipsy Kings and Swiss circus Salto Natale.

    Luc Lafortune studied theatre production at Concordia University in Montreal . He was originally interested in set design. "One day, during rehearsal, I discovered the ability of light to redefine a space, to make a strong contribution to the image and spirit of a show," he says. The experience inspired a passion that still permeates his work today.

    The excellence of his work has garnered him many awards. In 1992, his lighting design for the show Saltimbanco earned him a Drama-Logue Theater Award, given by critics from the California-based theatre magazine of that name. In 1994, he was chosen as designer of the year by the magazine Lighting Dimensions International (LDI). In 1997, the Martin Professionals show The Atomic Lounge, for which Luc Lafortune was artistic director, won the LDI for best light show. In 1998, he took an Entertainment Design Award for his lighting design for the show "O".

    Luc Lafortune is regularly invited as a speaker to share his knowledge and thoughts with students and professionals all over the world.

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  • Violaine Corradi

    作曲及音乐总监

    Violaine 生於义大利的里雅斯特,四岁时移居蒙特利尔。她的父亲是一名作曲家及指挥家,其母为歌剧演唱家。为了继承家族传统,她接受了古典音乐的培训,包括唱歌、钢琴、单簧管及长笛。她七岁时加入儿童合唱团,并參加了 Bolshoi Opera、Milan Scala 及 Opéra du Québec 在蒙特���尔 Place des Arts 的演出。

    随後,Violaine 修读戏剧,并主力发展钢琴及唱歌。她的音乐造诣不断发展,融入不同的音乐风格,并从世界各地的音乐中获取灵感,从而形成其独有的风格。她以电子键盘开创出另类摇滚乐,现主力发展世界音乐,并运用於全球巡回演出的剧码《Cyberjam》。

    自 1999 年第一次为太阳剧团的《超越极限》(Dralion)作曲後,Violaine 继续为剧团的 IMAX 电影 Bears and Great North 原声大碟作曲、编曲及监制,并获得 2001 年巴黎的 Festival du Film de la Gode 大奖。之後,Violaine 继续为《梦幻人生》(Varekai)作曲。

    除了作曲之外,Violaine 还为音乐师试音并为太阳剧团监制音乐。Violaine 表示:“在杂技表演中,音乐设计师就好像杂耍表演者一样,被掉进空无一物的空间内,但同时,集体创作也为设计师提供了一个安全网。”

    Violaine 的作品充分反映出她汇集各方精髓及特色的能力。她曾为不同的展览及电影作曲。在 1993 至 1998年间,她为多首魁北克的著名诗歌谱写乐曲,并集结成专辑 Poésie/ musique,当中的九首作品还大受法语市场欢迎。Violaine 於 1996 年创作的个人专辑 Passage(包括 Illuminations),也收集了不同音乐人的作品,例如 Philip Glass、Jon Anderson 及 Andreas Vollenweider。

    自 1999 年起, Violaine 为 IMAX 电影 Bears and Great North 的原声大碟作曲、编曲及担任音乐总监,并获得 2001 年巴黎的 Festival du Film de la Gode 大奖。

    Violain e为《ZAIA》创作的音乐是继《超越极限》(Dralion)及《梦幻人生》(Varekai)後,第三次与太阳剧团合作的作品。Violaine 认为:“太阳剧团的创作人就好像杂耍人在空中表演一样,而我们的安全网便是集体创作。导演 Gilles Maheu 为《ZAIA》带來不少灵感,这对我來而言,同样是非常有用的。当我在进行音乐创作时,我经常以剧码人物的特徵作为主题创作灵感,因为每事每物均源於他们。”

    Violaine 在 1959 年於义大利的里雅斯特出生。

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  • Julie Lachance

    Choreographer

    Julie Lachance began her career in dance and has worked in the Quebec circus world for more than 25 years, as a choreographer, art advisor, director and teacher.

    She has pursued classical and contemporary dance training, through teaching these disciplines she grew into the world of Cirque. 1986 marks the debut of her non-stop association with the circus arts.  In 1987, she became Educational director for Montreal’s National Circus School (ÉNC) and she has been at the school as a dance instructor and art advisor for its collegial education program since 1992.

    Since 1990, Julie Lachance has participated, as choreographer, designer or director, in more than 15 shows starring students from the internationally renowned school. She has also been involved in the design of shows representing the ÉNC at international events, in particular the Festival des Hautes Écoles de Cirque in Brussels. Her choreographic creations for circus acts won the performers numerous prizes at Festival du Cirque de Demain (France), la Piste aux espoirs de Tournai (Belgium), China Wuqiao International Circus Festival and the Festival Première rampe of Monaco.

    In addition to her contributions at l’ÉNC, Julie collaborated to numerous creations in dance and circus arts in Montreal and abroad. She choreographed Synfonia and Chameleon (Salto Natale, Switzerland), and Ulalena (Maui Myth and Magic, Hawaii). She acted as Artistic Director and Stage Director for My dance, Do I know You and Appartement #21 of Sandy Silva and created and directed Alice from L’Arsenal à musique. Julie is also the co-founder of Les Productions à Trois têtes; a group for which she created Celui qui a des yeux, an intimate and surreal circus theater production.

    Her first collaboration with Cirque du Soleil was in 1999, as a choreographer for Dralion.

    Julie Lachance has known a prolific and diverse artistic career. Whether it is through large or smaller scale shows, or research work and exploration workshops with artists from independent circuses, she discusses creating circus arts through an integrated approach towards the merger of forms and genres.

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  • Guy Desrochers

    Sound Designer

    Guy Desrochers spearheaded the sound design of the Cirque du Soleil shows Nouvelle Expérience (1992), Fascination (1992) and Dralion (1999). A passionate artist, he also created the soundscape for the North American, European and Asian tours of Alegría.

    During his career, he designed the sound for more than 300 hours worth of shows, festivals and gala events, plying his trade alongside a multitude of artists spanning a wide range of musical styles. While in Montreal, he worked on the sound design of four opera productions: Nelligan, Aïda, Carmen and Les Ailes du Feu, a work by composer Philippe Leduc. He also worked in tandem with a number of major artists in the entertainment business, such as Bryan Adams, Céline Dion, Chris de Burgh and André-Philippe Gagnon.

    His outstanding work garnered him numerous award nominations from the Quebec TV and entertainment industry. In 1994, Desrochers received a Félix for best sound designer from the Association québécoise de l'industrie du disque, du spectacle et de la vidéo (ADISQ).

    In 2001, he completed the sound design for the show Cheval, a production by Cheval-Théâtre, an equestrian circus company founded by Gilles Ste-Croix.

    In 2002, Cirque du Soleil sadly learned of the passing of Guy Desrochers. However, thanks to the Dralion show, his work is still very much alive.

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  • Michel Dallaire

    Clown Act Designer

    Cirque du Soleil fans will remember the clown group called La Ratatouille, which performed in 1984 and 1985. Michel Dallaire was the soul behind it. He has since put together a number of groups and created many clown shows in Europe, including Pomp Duck and Circumstance, Cirque Gosh in Germany, and Les Hommes Noirs. Recently, he founded a clown school in France. Guy Caron has relied on Michel's talent to put together a group of clowns in the pure "absurd" style, a style very familiar to Michel.

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