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TOTEM

TOTEM 追踪人类进化的奇妙过程:从原始两栖动物状态到最终渴望飞翔的期望。人物在舞台上表演进化,使人想起许多远古文明起源的象征 - 巨型海龟。

受到许多创始神话的启发,TOTEM 通过视觉和特技方式阐述了物种的进化过程。

科学与传奇性 TOTEM 之间在某些地方可以将人类与其他物种、其梦想和其无穷无尽的潜力相连结。

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澳大利亚 的巡演

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TOTEM - 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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  • Robert Lepage

    Writer and Director

    The multidisciplinary artist Robert Lepage is equally talented as a theatre director, playwright, actor and film director. Lauded by critics the world over, his modern and unusual work transcends all boundaries between disciplines.

    In 1975, Lepage entered the Conservatoire d'art dramatique de Québec and, following a study period in France, he took part in several productions in which he combined the roles of actor, writer and director. In 1985, he created The Dragons' Trilogy, a show that earned him international recognition. He followed this with Vinci (1986), Polygraph (1987), Tectonic Plates (1988), Needles and Opium (1991). With A Midsummer Night’s Dream in 1992, he became the first North American to direct a Shakespeare play at the Royal National Theatre in London.

    From 1989 to 1993 Lepage was Artistic Director of the Théâtre français at the National Arts Centre in Ottawa. In 1994 he founded his own company Ex Machina and directed The Seven Streams of the River Ota (1994), Le Songe d’une nuit d’été (1995) and a solo production, Elsinore (1995).

    Also in 1994, Robert Lepage made his début in the world of cinema. He wrote and directed his first feature film, Le Confessional, which was screened the following year at the Cannes Festival Directors’ Fortnight. He went on to direct Polygraph in 1996, Nô in 1997, Possible Worlds in 2000 (his first feature film written in English), and finally, in 2003, a film adaptation of his play The Far Side of the Moon.

    La Caserne, a multidisciplinary production centre in Quebec City, opened in 1997 under Robert Lepage’s leadership. There, he created and produced Geometry of Miracles (1998), Zulu Time (1999), The Far Side of The Moon (2000), a new version of The Dragons’ Trilogy with a new cast (2003) and The Busker’s Opera (2004). This was followed by The Andersen Project (2005), Lipsynch (2007), The Blue Dragon (2008) and Eonnagata (2009).

    Lepage made a grand entrance in the opera world when he staged the successful double bill of Bluebeard’s Castle and Erwartung (1993). He followed this with La Damnation de Faust presented for the first time in the Saito Kinen Festival Matsumoto, Japan (1999), 1984 in London (2005), The Rake’s Progress in Brussels (2007) and The Nightingale and Other Short Fables in Toronto (2009).

    Robert Lepage created and directed Peter Gabriel’s Secret World Tour (1993) and his Growing Up Tour (2002). As part of the festivities surrounding the 400th anniversary of Quebec City in 2008, he created Le Moulin à imagesTM – the largest architectural projection ever produced – on the walls of the Bunge, a massive grain silo. In 2009 he and his Ex Machina team created Aurora Borealis, a permanent light show for the structure, inspired by the colours of the northern lights.

    Winner of many prestigious awards, in 2009 Lepage received the Governor General’s Performing Arts Award for his outstanding contribution to Canada’s cultural life throughout his career.

    TOTEM is Robert Lepage’s second Cirque du Soleil show following KÀ (2004). "Inspired by the foundation narratives of the first peoples, TOTEM explores the birth and evolution of the world, the relentless curiosity of human beings and their constant desire to excel,” he says. “The word totem suggests that human beings carry in their bodies the full potential of all living species, even the Thunderbird’s desire to fly to the top of the totem.”

    Robert Lepage was born in Quebec City in 1957.

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  • Neilson Vignola

    创作总监

    Neilson Vignola 1980 年毕业于加拿大国家戏剧学院,之后在蒙特利尔的多家著名剧院公司担任不同职位,包括 Théâtre de Quat’Sous、Théâtre du Nouveau Monde、Compagnie Jean Duceppe 和 l’Espace Libre。

    1985 年,Neilson 在加拿大艺术理事会和魁北克艺术文化部的资助下前赴欧洲,并在当地花了一年多的时间观摩了多位歌剧导演的作品。 1986 年,他参与制作了在法国里尔的 Opéra du Nord 剧院上演的“霍夫曼的故事 (The Tales of Hoffman)”,以及 Robert Altman 的作品“浪子的历程 (The Rake’s Progress)”。 1989 年,他参与制作了在东京和多伦多上演的“艾达 (Aida)”。 1990-1993 年间,他在 Opéra de Montréal 公司担任制作总监。 1996 年,他参与制作了在蒙特利尔奥林匹克体育馆上演的“图兰朵 (Turandot)”;1997 年,他在麦吉尔大学导演了“灰姑娘 (La Cenerentola)”。

    Neilson Vignola 的舞台剧生涯始于他为导演 Robert Lepage 的“浮士德的天谴 (The Damnation of Faust)”担任助理,该剧曾在日本(1999 年)、巴黎(2001 年)和纽约(2008 年)上演。另外,他还参与了 2005 年在伦敦首演的“1984”以及 2007 年在布鲁塞尔和里昂上演的“浪子的历程 (The Rake’s Progress)”。

    在他的舞台事业中,Neilson 还参与了许多节日庆典、音乐剧、舞蹈表演及巡回演出。 1987-1997 年间,La La La Human Step、魁北克歌手 Diane Dufresne、Le Théâtre Populaire du Québec、Le Festival International de Nouvelle Danse 及其他许多公司先后聘请他担任舞台经理、制作总监、技术总监或舞台导演助理。

    Neilson 从 1998 年开始一直担任太阳剧团的技术总监以及“艺界人生 (Saltimbanco)”的巡回演出总监。 在 2002 年完成全新巡回演出的基础准备工作后,他参与了“KÀ”的制作并且成为导演 Robert Lepage 的助手及舞台经理。2005 年,他又在 Michel Lemieux 和 Victor Pilon 导演的“虚拟幻境 (DELIRIUM)”中担任相同职务。所有的努力和付出最终使他成为“萨雅 (ZAIA)”的创作总监。

    Neilson 说:“对我而言,最大的满足莫过于为观众带来赏心悦目的表演。 一个出色的表演需要整个团队的合作,我很享受成为其中一份子。 我不喜欢单独工作, 我最喜欢相互交流自己的想法和创意。”

    Neilson Vignola 1956 年出生于魁北克省 Forestville。

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  • Carl Fillion

    Set and Props Designer

    Carl Fillion has a degree in set design from the Conservatoire d’art dramatique de Québec, where he taught technical drawing from 1992 to 2002. His training also included studies in architectural design and structure.

    Carl has worked with many prominent companies and directors around the world and has a long list of theatre, multimedia and opera credits to his name, including sets for La Celestina staged by Fernando de Rojas's Royal Dramatic Theatre in Stockholm, The Burial at Thebes at the Abbey Theatre in Dublin and the opera Simon Boccanegra at the Gran Teatre del Liceu in Barcelona.

    TOTEM is Carl Fillion’s first design for a Cirque du Soleil production, and he set himself the challenge of making all its forms organic, full of curves and irregular shapes, to reflect the forms found in nature – while serving the technically demanding needs of the show’s performances.

    Carl’s long association with director Robert Lepage began in 1994 with the groundbreaking show Les 7 branches de la rivière Ota, and he has continued to create set designs for more than a dozen major theatre and opera production mounted by Lepage’s company since that first collaboration.

    “TOTEM is about evolution, so it was appropriate that the sets went through their own evolution,” says Carl. “I don’t have single one-size-fits-all approach that I apply to every production. It depends on the genre – theatre, opera, and now, circus – and it also very much depends on who the director is. But I do always like to work with space, constantly transforming it and filling it with movement.”

    Carl Fillion was born in Baie-Comeau, Quebec, in 1966.

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  • Kym Barrett

    Costume Designer

    Kym Barrett, who has created some of the most influential clothing seen in recent years, had a nomadic childhood, living for a while on Christmas Island in the Indian Ocean before attending a boarding school in her native Australia.

    She went on to attend the National Institute of Dramatic Arts in Sydney, where her association with Baz Luhrmann led her to the United States and Mexico to work on his 1996 film Romeo + Juliet.

    The costumes she created for Leonardo DiCaprio and Claire Danes in that film attracted a great deal of attention and led to her meeting the Wachowski brothers, who hired her in 1999 to design the costumes for The Matrix, The Matrix Reloaded and The Matrix Revolutions – costumes that inspired fashion designers, other costume designers and consumers around the world.

    Her other film credits include Three Kings (1999), starring George Clooney, the Hughes twins’ From Hell (2001), starring Johnny Depp, and the Wachowskis’ Speed Racer (2008).

    For her work on screen, Kym was nominated in 2001 by the Costume Designers Guild of America's Best Costume Award for The Matrix, and won the guild’s award for Best Commercial Costume Design in 2002. The same year she was nominated for a best costume design Golden Satellite Award for her work on From Hell and in 2007 she was nominated for excellence in costume design for the fantasy film Eragon.

    For TOTEM, Kym’s designs reflect many facets of the creation and evolution of life and the development of civilizations on earth. Her work also encompasses the cycle of the seasons.

    “Although TOTEM is quite fantastical, there’s also a sense of reality,” says Kym. “The costumes were inspired in part by documentary film. I wanted them to have a kind of documentary patina, even though we were inventing our own reality.”

    Kym Barrett was born in Brisbane, Australia.

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  • Bob & Bill

    Composers and Musical Directors

    Composers and arrangers Guy Dubuc and Marc Lessard (aka Bob & Bill) are well known for their ability to blur the lines between genres and styles. In 2003, they composed the music for Splinter Cell (Pandora Tomorrow), a best-selling Ubisoft video game. They have also produced several albums, including Monica Freire’s Bahiatronica and Pink Floyd Redux, a collection of remixed songs from the British cult band, as well as the soundtrack album for the Cirque du Soleil show KOOZA. In 2004, Bob & Bill supplied the musical direction and arrangements for the Cirque du Soleil show Midnight Sun, as part of the 25th anniversary celebrations of the Montreal International Jazz Festival and the 20th anniversary of Cirque du Soleil. Three-time nominees for a Quebec music industry ADISQ award, the two sidekicks also created the music for several films and television series, and composed the music for Director Robert Lepage’s production Pageant de Canotgraphie. In 2008, the duo launched their first album, Crime Report, a work combining electronic and organic sounds.Bob & Bill worked many times with Cirque du Soleil to create the musical arrangements for several special events. Since 2009, they also acts as composers for Cirque du Soleil. They composed the music for TOTEM (2010), directed by Robert Lepage and Amaluna (2012), directed by Diane Paulus. Bob & Bill also wrote the music for the third and fifth chapters of Les Chemins Invisibles (2011 and 2013), a free outdoor show presented during the summer in Quebec City. KURIOS – Cabinet of Curiosities is their fifth show as composers for Cirque du Soleil.

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  • Jeff Hall

    舞蹈指导

    Jeff Hall最为人津津乐道之处,就是善於将他对体育运动的狂热爱好,揉合到舞台藝术表演中。他巧妙创新地将幽默风格、精彩对白及身体动作共冶一炉,凝练成舞台上的出色作品。作为1989及1990连续两年的加拿大花式飞碟冠军,Jeff为了提升个人技巧而于大学时期选修舞蹈学科,却因此踏上藝术表演之路。他持有加拿大康哥迪亚大学(Concordia University)的当代舞学士学位,并在麦基尔大学(McGill University)修读古典音乐。

    Jeff 在其事业的起步初期,曾与不少独立编舞师共事,并最终找到其事业发展方向—— 加入现代舞蹈团 Fondation Jean-Pierre Perreault、JOE 及 Piazza。1990 至 1995 年间,他效力於蒙特利尔剧团 Carbone 14,并在世界各地巡回演出,期间曾參与《Café des Aveugles》舞蹈剧及其电影版,还曾參演《Le Dortoir》及由导演 François Girard 将其改编而成的获奖电影。

    1992至1998年间,Jeff 在舞蹈团 PPS Danse 担任联席美术指导,与同事携手创作了在欧美等地巡回演出的《Bagne》。他还与视觉藝术家 Michel Lemieux 及 Victor Pilon 合力创作了多媒体作品《Pôles》。此外,他曾於 1999 年在瑞士集体创作的《OMA》演出中粉墨登场,并任教於加拿大魁北克省的凡尔登马戏学校(l’École de Cirque de Verdun),创作了三项学生周年表演。他还參与创作了一个大受欢迎的两小时马戏表演《Les Écureuils》,自 2005 年至今,曾经欣赏该项表演的小朋友总数超过 16,000 名。

    Jeff於 2001 年重投 Carbone 14 担任表演者,在 Gilles Maheu 执导的新作《Silences》中演出。翌年在 Carbone 14的作品《Bibliothèque》中,Jeff 还成为了 Gilles 的副手。同年,他协助著名导演 Robert Lepage 将《龙之三部曲》(Trilogie des Dragons)重现舞台,并在 Marie Brassard 执导《La Noirceur》期间从旁协助。该两位导演的作品均在 2003 年度“美国戏剧节”中亮相。Jeff 其後在 l’Institut National de l’Image et du Son(INIS)修完了一项电影导演课程。

    Jeff 曾获 Canada Council 颁发三项创作奖学金,以及久负盛名的“Jacqueline Lemieux 编舞奖”。他的作品曾亮相於渥太华的“加拿大舞蹈节”、蒙特利尔的“国际新派舞蹈节” (FIND)、德国的 “Dresden Tager 当代音乐节”、1998 年的“里斯本藝术节”、美国明尼苏达州的沃克藝术中心(Walker Art Center),以及“亚特兰大藝术节”。

    Jeff 於 2005 年加盟太阳剧团,最初担任《LOVE》的藝术指导。他说:“杂技表演是在创作主题的情感牵引和带动下,以表演者个人技巧为中心的一种形体藝术。在舞台上,各个动作均以表演者共用的经验与阅历作为依歸。”自从參与《LOVE》至今,Jeff一直在太阳剧团担任藝术指导,并继续保持在凡尔登马戏学校的剧码中担当创作者/导演/编舞师。

    他说:“我对於《ZAIA》所做出的贡献,就是以展现无限藝术美感的手法,令每位表演者合力演绎出动感澎湃而又充满凝聚力的精彩作品,而导演也能在作品中加入个人的见解,呈现出个人的情感色彩。这是与杂技指导共同努力的成果。很多杂技人员从没有參演戏剧的经验,我喜爱为他们编舞,令他们得以将杂技造诣与舞台上的角色和谐融合。我很高兴能够看到这些表演者不断成长,每时每刻都能勇於克服在个人及体能上遇到的种种挑战。”

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  • Étienne Boucher

    Lighting Designer

    Since leaving the National Theatre School of Canada in 1999, Étienne Boucher has been much in demand for his lighting designs as much for theatre and dance as for musicals and opera. He has participated in nearly a hundred productions,

    "I like to fill the whole space between the projector and the artist with light,” says Étienne. “It allows me to colour the air, which in turn lets me pick out the details of the set design and sculpt the artists."

    Etienne’s precise, chiselled designs – at times expressionistic, at times poetic – form pictures of light that fuel the narrative of the productions he works on. Concerned with the meaning of both colour and light, he is regarded in his milieu more as an illuminator than a lighting designer.

    He has regularly worked in partnership with directors such as René Richard Cyr, Brigitte Haentjens and Martin Faucher, and since 2004 he has worked closely with TOTEM director Robert Lepage at the latter’s company, Ex Machina. Their association began with La Celestina (Spain), and continued with Lipsynch (on international tour), The Rake's Progress (presented in co-production in Brussels, Lyon, San Francisco, London, Madrid and Milan) and Le Rossignol et autres fables (Toronto and the Aix-en-Provence Festival in 2010).

    Over the years, Étienne Boucher has won many accolades, garnering several award nominations at the Soirée des Masques (Quebec), winning two Masques in 2007 for lighting productions of Du vent entre les dents and La Dame aux camélias.

    "In TOTEM, I wanted to play with the colours of the projections on the marsh to create a third dimension by extending those effects onto the stage," says Étienne Boucher. "The light I have created for this show is a reflection borrowed from nature. My greens and blues were inspired by ice, and the reds and yellows were definitely inspired by fire. "

    Étienne Boucher was born in Montreal in 1972.

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  • Pedro Pires

    Image Content Designer

    Pedro Pires grew up in Quebec City, where he soon discovered his ability to reproduce and animate characters and monsters. These experiments allowed him to develop his own techniques of molding and special effects.

    In 1990, at age 21, he entered Laval University to study Fine Arts. Following that, he received a Special Make-Up Effects Certificate from the renowned New York artist Dick Smith and completed a Computer Graphic Design Certificate at the Centre NAD - National Animation and Design Centre in Montreal.

    His film debut was in 1995 with The Sound of the Carceri, a documentary by director François Girard, in which he recreated the fictitious prisons of Piranesi around the cellist Yo-Yo Ma in 3D. This work won him an Emmy Award for Outstanding Visual Effects and a Gemini Award for Best Visual Effects in 1998. He worked with François Girard again on the artistic direction of the visual effects in the film The Red Violin.

    In 2001, he took on the visual conception for the film Possible Worlds, which marked the beginning of a long artistic collaboration with the playwright, director and film-maker Robert Lepage.

    In 2007, he set up his own film production company, Pedro Pires Inc., dedicated to the creation of original content using digital technology. In 2008 his company produced the short film Danse Macabre, a multidisciplinary collaboration with AnneBruce Falconer and Robert Lepage, where he acts simultaneously as scriptwriter, director, photographer and editor. This film has been screened at many festivals since 2009 and has to date won 27 international prizes.

    TOTEM marks his first collaboration with Cirque du Soleil.

    “In TOTEM, the screen for the projections is a kind of virtual marsh at the rear of the stage,” notes Pedro Pires. “All the images are drawn from nature, even when they seem quite abstract. They evolve through the show in a long mix or a morph to create an ever-changing tableau that interacts with the artists and lives in harmony with the stage lighting.”

    Pedro Pires was born into a Portuguese family in Nantes, France, in 1969.

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  • Jacques Boucher

    Concepteur sonore

    Depuis plus de vingt-cinq ans, Jacques Boucher conçoit les environnements sonores pour une multitude de productions du Québec et d’ailleurs. Sonorisateur pour différents artistes québécois dont Richard Séguin, Laurence Jalbert, Diane Dufresne et Bruno Pelletier, l’expertise de Jacques Boucher a été mise au service de comédies musicales telles que Dracula (2006) et de grands événements, dont le méga spectacle 2000 voix chantent le monde, présenté à Québec en 2000, avec plus de 2 300 choristes sur scène. En 2008, Jacques est invité à mettre la main à la presque totalité des événements de la Société du 400e anniversaire de la ville de Québec en tant que concepteur et chef sonorisateur : il participe à la Symphonie des mille de Gustav Mahler avec l’Orchestre symphonique de Québec, au spectacle Le Moulin à images de Robert Lepage, dont il conçoit l’imposant système de diffusion sonore s’étalant sur 1,2 km et  à l’événement-spectacle présenté par le Cirque du Soleil. Jacques Boucher travaille également à titre de concepteur sonore et de chef sonorisateur pour des événements spéciaux du Cirque du Soleil. Après TOTEM, il collaborera pour une deuxième fois à un spectacle du Cirque du Soleil.

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  • Pierre Masse

    Acrobatic Equipment and Rigging Designer

    Pierre Masse’s career spans just about every genre of the performing arts. He was involved in major productions with the Opéra de Montréal, the Grands Ballets Canadiens and Céline Dion as well as a production of Les Misérables. He has collaborated with Cirque du Soleil since 1996, and took part in the creation of Quidam, Varekai, Zumanity, KÀ and CRISS ANGEL Believe. Michael Jackson ONE is Pierre Masse’s third Cirque du Soleil show as Acrobatic Rigging and Equipment Designer following TOTEM and IRIS – A Journey Through the World of Cinema.

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  • Florence Pot

    Acrobatic Performance Designer

    A gymnast at the age of six, Florence Pot completed her university degree in physical education in France and went on to specialize in sports psychology. She decided to move to Montreal in 1991 primarily to continue her academic career.

    She studied for her master's degree in sports psychology at the University of Montreal while working as a coach at the club Gymnix de Montréal. She returned to France two years later to choreograph performances for the French Gymnastics Federation.

    Motivated by a lack of professional challenges in France and a strong desire to work at Cirque du Soleil, Florence came back to Canada in 1997 to renew her network of contacts with the company and to choreograph performances by Canadian competitive gymnasts.

    In 2001, she accepted a position scouting acrobatic talent for Cirque's casting department and in 2003 she became the company’s Head Scout. In 2006 she accepted the invitation to become Acrobatic Performance Designer on ZED (Cirque's resident show in Tokyo) because she wanted to get closer to the creation process and be part of it from start to finish. She reprised the same role on TOTEM and Zarkana.

    "What interests me most is the emotion that emerges from the performance of an artist on stage,” says Florence. “The acrobatic framework of Zarkana was born in a world that was firmly rooted in the circus, where virtuosity cohabits with madness. We were inspired by traditional circus sideshows to highlight the crazy and decadent side of Zark’s world.”

    Florence Pot was born in Rouen, France.

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  • Nathalie J. Simard

    Makeup Designer

    Nathalie J. Simard has been practicing the art of makeup for over 20 years. She studied visual arts and took several theatre and makeup workshops, but is largely self-taught, having learned her craft on the streets of Quebec City. There, she explored the many facets of makeup in depth and developed a distinctive style that is all her own, using the body and face of her subjects as her canvas.

    An innovator since the 1980s, Nathalie became well known for transforming children and adults alike with her distinctive designs at festivals and outdoor events throughout Quebec. Constantly on the lookout for new sources of inspiration, she then took her talents to other stages across Canada, Asia, Europe and the United States.

    Her creations have been seen by tens of thousands of people in several major events such as the International Children's Festivals network across Canada and the International Buskers Festivals held in Kuala Lumpur and Singapore.

    Nathalie has worked on theatre productions for Marie Dumais and photography projects with David Cannon. She also worked with characters for the EOS Circus in Quebec City, and created hundreds of makeup designs for the Quebec City Festival d’été and Winter Carnival. For ten years she has designed characters for productions by the Quebec creator Olivier Dufour, including his show Le Chemin qui marche (one of the main events of Quebec City’s 400th anniversary celebrations), and Festival Montréal en lumière.

    Early in 2000, Nathalie founded Kromatik, a company that specializes in makeup for street art. Working with a team of artists as dedicated as herself, she developed a technique of makeup and animation that set new standards in the field. Combining speed, creativity and originality, she can produce a collective work in minutes.

    TOTEM marks Nathalie’s first collaboration with Cirque du Soleil. "The show deals with humanity in all its diversity and richness," she says. “I used the patterns and iconography of a vast array of different cultures to create the different characters. I am just as inspired by all the artists, their energy and their performance to create characters that are a really good fit."

    Nathalie J. Simard was born in Quebec in 1967.

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