Cirque du Soleil
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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

Alan Hranitelj

Costume Designer

Alan Hranitelj attended the School for the Visual Arts in his hometown of Zagreb, Croatia, and has been living in Slovenia since1985, when he went to Ljubljana to  design the makeup for a production of the play Baptism Under Triglav.

He did briefly design haute couture collections in Milan in the early 1990s, but quickly returned to the world of theatre in Slovenia where he designed makeup and costumes for stage and film productions. He regards his work as the antithesis of fashion, defining himself simply as a costume designer. Yet his designs are works of art in their own right, pieces of sculpture even.

Between1987 and 2010, Alan designed the costumes for about 200 projects, notably for solo and group exhibitions at the Museum of Modern Art, Ljubljana (1991), the Municipal Gallery, Ljubljana (1991-1995) and the European Cultural Capital 96 event in Copenhagen (1996). In 2000 his work was featured in a movement-theatre performance and fashion show at the Millennium Dome, London. He has designed the costumes for many classical and modern theatre and opera productions directed by such prominent Slovenian directors as Vito Taufer, Mateja Koležnik, Diego de Brea, Matjaž Berger and Meta Hočevar.

Alan’s work method is to interact closely with actors, singers and performers. He doesn’t just present them with a fait accompli and tell them, “this is your costume.” He prefers to take the time to find out who they are, what they like, what makes them comfortable, what makes them tick, then apply all that information to their costumes.

One of the toughest challenges Alan faced on Zarkana (his first association with Cirque du Soleil) was to mesh the predominance of white in the color palette of some costumes with the darker tones of the show. “It’s a paradox, for sure,” he says, “but it’s also been stimulating and rewarding to come up with an approach that reconciles two such seemingly contradictory elements.”

“Details make a costume come to life and give it added depth,” he says. “That can be very important to the person wearing it, because it helps animate their performance. Something as apparentlinsignificant as a pocket might give an artist an entire repertoire of small gestures that help to define his or her character – even if it isn’t obvious to the audience.”

Alan Hranitelj was born in Zagreb, Croatia, but now lives and creates in Ljubljana, Slovenia.