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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。

KÀ, the unprecedented epic production by Cirque du Soleil takes adventure to an all new level. Be awed by a dynamic theatrical landscape, as an entire empire appears on KÀ’s colossal stage. Live at MGM Grand, Las Vegas.

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長駐演出節目地點 MGM GRAND, 拉斯維加斯, NV

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- 創作人

  • Guy Laliberté

    創始人

    Guy Laliberté 於 1959 年誕生於魁北克市。身兼手風琴師、高蹺和吞火特技表演者身分的他,在一小群同好的支持下,創立了魁北克首支享譽國際的馬戲劇團。Guy Laliberté 憑藉著大膽的遠見,肯定並培養在 Fête foraine de Baie-Saint-Paul 中嶄露頭角之街頭藝人的才華,隨後於 1984 年創立了 Cirque du Soleili (太陽劇團)。

    Guy Laliberté 首創結合文化、藝術美學與特技訓練的演出手法,也成為太陽劇團的正字商標。早自 1984 年開始,他便引導著創意團隊打造出一齣齣劇碼,同時投注己力將馬戲藝術推向更高水準的藝術殿堂。

    太陽劇團如今在其組成規模、活動和影響力範圍上,已經晉身國際組織之林。Guy Laliberté 目前領導的已是個活躍於五大洲的組織。

    2007 年 10 月,Guy Laliberté 開始投身其第二項終生事業 ONE DROP 基金會,致力於透過永續的方式取得安全無虞的飲用水,藉此改善世界各地的貧窮問題。這個嶄新的夢想源自對取得水源的權利乃全球社群和個人生存之所繫的體認,也是從太陽劇團創始之初便確立的核心價值:堅信受人點滴當亟思回饋,微小之舉可成重大之事。

    2009 年 9 月,Guy Laliberté 成為加拿大首位私人太空遊客。他希望藉由此舉讓世人注意到人類在地球上面臨的飲水問題。第一次的太空「詩意社會使命」(Poetic Social Mission),以地空連線,關懷水資源 (Moving Stars and Earth for Water) 為主題,目的在於透過藝術的手法感動人心,在特別製播的 120 分鐘 Webcast 節目中,呈現了在五大洲 14 個城市以及國際太空站中展開的多項藝術表演。

    重大獎項與榮譽肯定
    2012 年,Guy Laliberté 晉身美國博彩協會(American Gaming Association) 的博彩名人堂 (Gaming Hall of Fame)。2011 年進入加拿大商業名人堂 (Canadian Business Hall of Fame) 之列。2010 年,Guy Laliberté 獲得在傳奇的好萊塢星光大道 (Hollywood Walk of Fame) 上留下專屬星型勳章的殊榮。同年,魁北克政府為表揚其貢獻,更將六年前授予的騎士 (Chevalier) 勳章拔擢成為軍官 (Officier) 勳章,使其成為 Ordre de la Pléiade 的受勳者之一。2008 年,魁北克 Laval 大學 (Université Laval) 授予 Guy Laliberté 榮譽博士學位。前一年,Guy Laliberté 獲得安永 (Ernst & Young) 年度企業家大獎肯定,其獲獎層級涵蓋三大層級:魁北克、加拿大和國際。2004 年,他獲得加拿大總理頒發的加拿大最高榮譽加拿大勳章 (Order of Canada), 同年更獲得時代雜誌 (Time Magazine) 票選為全球百大影響力人士。2003 年,他獲選為 Condé Nast 集團的領先者計畫 (Never Follow Program) 之一,該計畫宗旨在於表彰傑出創造者和創新人士。2001 年,榮獲大蒙特婁學院 (Académie des Grands Montréalais) 提名為傑出蒙特婁公民 (Great Montrealer)。1997 年,Guy Laliberté 接受魁北克政府頒發的最高榮譽魁北克勳章 (Ordre National du Québec)。


    其他獎項與榮譽肯定

    2009
    加拿大行銷協會 (Canadian Marketing Association) 終生成就獎

    2002
    進入加拿大星光大道

    1998
    美國工藝博物館 (American Craft Museum,現為紐約藝術與設計博物館 (Museum of Arts and Design)) 遠見成就獎 (Visionary Award)

    1996
    於第 43 屆商業大會 (魁北克) 中獲頒創新視野 (Vision nouvelle) 獎

    1988
    魁北克傑出媒體大會 (Gala Excellence La Presse) 年度風雲人物

    1988
    Les Affaires 雜誌 (魁北克) 年度企業家

     

    詳細資料隱藏
  • 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.

    詳細資料隱藏
  • Guy Caron

    創意總監

    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.

    詳細資料隱藏
  • Mark Fisher

    劇場和場景設計

    British architect Mark Fisher’s interest in building temporary structures and inflatables caught the attention of Roger Waters and led to his first rock ’n’ roll commission for Pink Floyd’s Animals tour in 1977. Mark has since earned an international reputation for his spectacular concert designs. His best-known work includes The Wall and Division Bell for Pink Floyd, Steel Wheels, Bridges to Babylon and Bigger Bang for the Rolling Stones, as well as Popmart for U2. Most recently Mark was Chief Designer for the opening and closing ceremonies of the 2006 Winter Olympics in Turin, the 2008 Beijing Summer Olympics and U2’s 2009-2010 360° tour.  Michael Jackson THE IMMORTAL World Tour will be Mark Fisher’s third collaboration with Cirque du Soleil following KÀ and Viva ELVIS.

    詳細資料隱藏
  • Marie-Chantale Vaillancourt

    Costume Designer

    For the past 20 years Marie-Chantale Vaillancourt has designed costumes for a large number of theatre, dance, opera and film productions. Her work, which combines the two diciplines she has specialized in – set design as well as costume design – has been seen around the world.

    Since 1989 she has worked particularly closely with world-renowned writer, actor and director Robert Lepage, creating the costumes for many of his productions, including Les Sept Branches de la Rivière Ota, La Géométrie des Miracles, La Face Cachée de la Lune, Peter Gabriel's Growing Up tour, La Trilogie des Dragons and KÀ, for Cirque du Soleil.

    Through the years Marie-Chantale has won many major Canadian awards for her work, including two Masques de la Conception des Costumes, in 1995 and 2005. She has also received many award nominations – notably from the Genies and the Jutras for her work with Robert Lepage on the feature film Nô.

    "Even if KOOZA isn't specifically a clown show, a number of the characters are played by clowns," notes Marie-Chantale. "I needed to avoid clichés and caricature so I concentrated more on archetypes of universal and unchanging characters. There is a comic-book aesthetic to the designs, but it's filtered through the naïve point of view of the main character, The Innocent.

    My costumes draw on a wide variety of sources of inspiration: everything from graphic novels, the paintings of Gustav Klimt, Baron Münchhausen, the Mad Max movies, time-travel movies to India and Eastern Europe. This visually naïve, exotic and timeless universe evokes the world of toys, lead soldiers and children's books, with a wink toward Alice in Wonderland and the Wizard of Oz."

    Marie-Chantale Vaillancourt was born in Sept-Iles, Quebec in 1967.

    詳細資料隱藏
  • René Dupéré

    Composer and Arranger

    René Dupéré played a key role in shaping the artistic universe of Cirque du Soleil during its first ten years. His music for the shows Nouvelle Expérience, We Reinvent the Circus, Saltimbanco, Mystère and Alegría reverberated – and continue to reverberate – well beyond the big top.

    In 1994-95, the albums Alegría and Mystère spent several weeks at the top of the Billboard charts in the world music category. In 1995 and again in 2004 the Festival International de Jazz de Montréal paid homage to the music of René Dupéré and Cirque du Soleil.

    A master of hybrid musical styles, René composed some of the music for the ceremonies commemorating the return of Hong Kong to China in 1997. The following year he created the music for the world tour of Holiday on Ice, the Amsterdam-based ice ballet troupe. He has also written music for several television series and films.

    René Dupéré’s talents have earned him a number of awards and distinctions. He is a two-time recipient of the Society of Composers, Authors and Music Publishers of Canada (SOCAN) Hagood Hardy award. He is also known for “Ismya Vova,” composed for an Air Canada ad campaign, which won a Golden Award in 1998 at the New York Publicity festival for Best Original Music. Laval University awarded him an honorary doctorate for his contribution to popular music in Quebec.

    In 1998, René formed his own record company, Netza, and released his third album with the label in October 2002. In 2004 he returned to Cirque du Soleil for the first time since the creation of Alegría in 1994, to compose the music and create arrangements for the show KÀ.

    詳細資料隱藏
  • Jacques Heim

    Choregrapher

    When choreographer Jacques Heim first heard that Cirque du Soleil was interested in working with him he thought it was a mistake. Although he had admired every Cirque show he had seen, and he had seen almost all of them, he never thought Cirque and his own dance company would be a good fit—until KÀ came along.

    Heim was born in Paris but moved to New York as a young man, and studied as a theatre major at Middlebury College , Vermont . Upon graduation he moved to England, where he studied dance, then came back to the United States where he founded the acclaimed Los Angeles dance company Diavolo.

    For Heim, the link between Diavolo and KÀ lay in the process. "It's the same," he says, pointing out that, just like the cast of KÀ, Diavolo's dancers work with enormous architectural structures and props in constant motion. "I work with acrobats and different types of movers and dancers. We don't do circus but we do deal very much with structures and architectural environments. I'm not used to Cirque, but I am used to this kind of process."

    To create the show's choreography Heim had to blend dance with martial arts, acrobatics, puppets and projections—and he says that took some getting used to. "All those different languages and layers had to be mixed and put together. It wasn't easy, but I knew it was going to be possible because we had Robert Lepage as our director, and with his vision, somehow we would be able to put it together."

    詳細資料隱藏
  • 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.

    詳細資料隱藏
  • Jonathan Deans

    音效設計

    Jonathan Deans 是世上最受歡迎的現場娛樂音效設計師之一。年輕時,他加入皇家莎士比亞劇團 (Royal Shakespeare Company) 擔任演員,但他對音效也有相當大的興趣,因此漸漸深入探索劇場。數年後,在音樂產業擔任音效工程師,在 Morgan Studios 與藝人 Cat Stevens、Paul Simon 與 Rick Wakeman 合作一段時間後,他又循著倫敦柯芬園的皇家歌劇院 (Royal Opera House) 回到劇場,之後為音樂劇「A Chorus Line」混製音效。接二連三的成功來敲門,而他也成為許多倫敦西區劇場演出的混音工程師。Jonathan 擔任混音工程師的傑出表現,為他爭取到在音樂劇「Marilyn」擔任混音師的工作。之後,他更在多齣劇場作品中擔任音效設計的工作,如「Time」、「Les Misérables」、「Mutiny」、「Jean Seberg」等,族繁不及備載。十多年後,他轉往美國發展,為主題樂園、體育場和巨蛋設計系統與演出,也參與百老匯作品,如「Ragtime」、「Fosse」、「King David」、「Damn Yankees」、「Taboo」、「Brooklyn」、「Lestat」、「Pirate Queen」、「Young Frankenstein」、「La Cage Aux Folles」、「Spiderman」、與「Priscilla Queen of the Desert」。「Michael Jackson ONE」是 Jonathan 自 1992 年「Saltimbanco」以來,第 14 度為太陽劇團設計音效系統與音訊環境。

    詳細資料隱藏
  • Holger Förterer

    Interactive Projections Designer

    To call one of Holger Förterer creations a “projection” doesn’t come close to describing the magic he conjures with light.

    In Förterer’s world, KÀ dancers and acrobats do not simply perform on a stage that’s illuminated by a light show, they actually direct what happens to the projection through their movements—the scenery reacts to everything they do. The result is a smooth succession of hypnotic, realistic illusions that play out in real time as the performers interact with the unseen technology that makes it all happen.

    So how does it all happen? First, the performers are captured by an infrared-sensitive camera above the stage and their movements are tracked by a computer with software written by Förterer and three programmers. The second component is a system that in effect turns the stage into an oversized touch-screen that can determine the precise position of each actor, dancer and acrobat.

    Without the performers to provide this input, nothing would happen. The information gathered from them influences the mathematical parameters of any number of worlds that are then reprojected onto the stage they occupy. “In essence, what we have is an intelligent set,” says Förterer. “And everything the audience sees is created by the computer.”

    But as advanced as all this technology is, Holger Förterer does not see himself exclusively or primarily as a technician. “I am midway between art and technology,” he says. “All of my efforts seek to use technology to the point where it becomes art. At the same time, I struggle against technology taking me to the point where it takes over, at the expense of art. Ideas are the most important thing in our work. Man understands ideas, machines don't. However, if art cannot bring machines to feel emotions, who or what can? I am going to try.”

    詳細資料隱藏
  • Michael Curry

    偶戲設計

    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.

    詳細資料隱藏
  • Patricia Ruel

    Props Designer

    Patricia Ruel has contributed to the success of a myriad of plays, television shows and special events, both in Quebec and abroad. Her track record includes over 50 productions as Props Designer and a dozen as Set Designer. Patricia has received two Théâtre Denise-Pelletier awards for her sets for Révizor, directed by Reynald Robinson, in 2003, and Edmond Dantès, directed by Robert Bellefeuille, in 2004. In 2011, she received a Gémeau award in the “Best Set Design: all variety categories, magazines, public affairs, sports” category for the end-of-year special Bye Bye 2010, aired on SRC. She has worked with various theatre directors, including Robert Lepage, Dominic Champagne and Fernand Rainville. She has also worked on several projects for Cirque du Soleil, including KÀ, The Beatles LOVE and Viva ELVIS as Props Designer and Wintuk and Banana Shpeel as Set Designer.

    詳細資料隱藏
  • 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."

    詳細資料隱藏
  • André Simard

    Aerial Acrobatics Designer and Head Coach– Creation

    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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  • Nathalie Gagné

    化妝設計師

    化妝設計師 Nathalie Gagné 從小已對化妝著迷,她深信化妝對演員的影嚮。Nathalie 於 加拿大魁北克省的 Cégep de Saint-Hyacinthe 攻讀戲劇製作,其後更成為著名巴黎化妝學 校 École Christian Chauveau 蒙特利爾分校的首屆畢業生。

    Nathalie 在加入太陽劇團之前,曾於不同劇團、電影及電視機構工作。她曾兩度獲 得 Gémeau 獎項(所有類別)的最佳化妝提名。這項榮譽是由加拿大電影及電視學院 (Academy of Canadian Cinema and Television)所頒授。

    Nathalie 說:「化妝是靈魂的反映,它猶如魔杖一樣,能揮走一切被掩蓋的東西。」由 1995 起,Nathalie 為太陽劇團設計超過200多款不同類型的化妝,而最終設計都是由 2,000 多個草圖中揀選出來。

    由於太陽劇團的表演者均需要自行化妝,Nathalie會邀請他們一同參與台上的化妝創 作。Nathalie 說:「由於雜技表演者有別於一般演員,他們不習慣進一步了解自己的臉 孔,我的其中一個目標就是教曉他們了解臉孔,幫助雜技表演者尋找他們臉上的『引力 紋理』(lines of force)以建立他們的個人特質。」

    Nathalie 同時亦負責確保所有化妝都富有她的特色與及完整性。由於表演者都需要自行 化妝,因此化妝技巧工作坊成為太陽劇團為表演者提供的基本訓練的一環。Nathalie會 先教會表演者如何自行化妝,然後為他們寫下各個步驟。

    Nathalie 於《神秘境界》(Mystère)、《飛躍之旅》(Alegría)及《藝界人生》(Saltimbanco)運用了全新的化妝概念,更促使了她與導演 Franco Dragone 及服裝設計師 Dominique Lemieux 的合作。繼 Nathalie 曾參與的《奇幻之旅》(Quidam)、《“O”》、《夢幻嘉年華》(La Nouba)、《Varekai》、《人類動物園》(ZUMANITY)、《KÀ》、《歡宴人生》(Corteo)、《虛擬幻境》(DELIRIUM)和《LOVE》,《ZAIA》將成為她與太陽劇團的第十個製作。

    Nathalie 說:「我透過多姿多彩的化妝設計刻畫了《ZAIA 》不同角色的人性特徵。同時,我亦希望塑造出相似的相貌以突顯不同族群。由於部份表演者擔領多個角色及需要迅速變換扮相,為他們變換妝容實在是一個挑戰。因此,我運用了許多自然色調的面譜 讓表演者更容易為不同的表演改變妝容。」

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

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