Cirque du Soleil
關閉
 
 

新聞發佈室

 

新聞稿

太陽劇團提供公司各類演出節目和相關資訊的新聞素材。

Cirque du Soleil

所有的一切,都是從加拿大魁北克市附近的小鎮 Baie-Saint-Paul 開始。在那裏,在 80 年代早期,有一隊充滿特色的樂隊在街頭流浪,踩高蹺,表演雜耍,跳舞,表演噴火和演奏音樂。他們是 Les Échassiers de Baie-Saint-Paul(Baie-Saint-Paul 街頭浪人),是一個由 Gilles Ste-Croix 建立的街頭表演團隊。這群年輕的表演者給小鎮的居民留下非常深刻的印象,包括後來成立太陽劇團並出任 CEO 的 Guy Laliberté。

 
 
 

傳記

Pascale Henrot

Associate Director of Creation

After studying crafts at the l’Ecole des Trois Soleils in Lyon, France, Pascale Henrot turned to dance under the influence of choreographers Claude Decaillot and Michel Hallet-Eghayan.

From 1978 to 1987 she worked in Lyon with choreographer Régine Chopinot, then in Paris with Daniel Larrieu’s company Astrakan and Andrew De Groat’s company Red Notes. After dancing with Philippe Decouflé, she became his choreographic assistant and started working as a producer and director with his company DCA, a role she undertook in all his creations from Codex (1986) to Shazam (1997). She also worked as a director and company administrator in the creation of commercials and other short films by Philippe.

Pascale produced a show called Triton et les petites tritures as one of the events associated with the FIFA World Cup held in France in 1998, and after leaving DCA, she worked with artistic directors Andre Heller and Philippe Decouflé on the preparations for the opening ceremony of the 2006 FIFA World Cup in Berlin.

From 2000 to 2007, Pascale was co-director of the "Paris quartier d’été" festival, overseeing its programming and administration. In 2007 she produced events for the inauguration of Life at Saint-Nazaire, a new space for interdisciplinary and emerging forms. Since the summer of 2008, she has directed the Théâtre de la Cité Internationale in Paris, which has three multidisciplinary spaces dedicated to all forms of contemporary performing arts.

As Associate Director of Creation of IRIS, Pascale Henrot is the link between the director, his ideas and the show’s other creators. Working at Philippe Decouflé’s side, her role is to ensure that his intentions and vision materialize on stage. "In IRIS, the acrobatics are absolutely integral to the entire structure of the show – a production that presents a poetic, playful and inventive take on film," she says.