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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。

TOTEM

TOTEM 與您追尋一段懾人的人類旅程:從最原始的兩棲動物形態至飛行的終極慾望。角色會在一個巨龜形狀的舞台上演繹進化歷程,而龜恰好被許多古代文明認為是起源的象徵。

TOTEM 的靈感源自許多關於人類起源的神話,透過視覺及肢體雜技語言,生動地呈現生物的進化歷程。

穿梭科學與神話間的 TOTEM 會探索人類與其他物種之間的聯繫、他們的夢想與他們的無限潛能。

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在 紐西蘭, 澳洲 舉行的巡迴表演

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TOTEM - 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

     

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  • Gilles Ste-Croix

    高級副總裁.創作內容

    Gilles Ste-Croix 最初向父母表示有意投身表演事業的時候,他們非常反對,更說道:「絕 對不可以!」在魁北克農村長大的 Gilles,決意要出外闖天下。他成為四海為家的嬉皮一 族,更在西岸生活了一段日子,並參與一些戲劇的面試。

    Gilles 曾經試圖改變, 甚至在一家建築公司工作了一段時期, 然而他明白到在內心深處, 實在無法接受投身傳統商業社會, 並以此為終身事業. 於此同時, 他在追尋適合計資的行業方面, 亦絕非漫無目的. 他指出早於少年時候, 便一直渴求取得驕人成就, 亦一直渴望能够娛樂大眾. 雖然他醉心娛樂事業, 但其入行經過出人意表。

    1970 年代後期,Gilles 居於魁北克省維多利亞維爾(Victoriaville),依靠採摘蘋果來維持生 計。有一天,他突然大發奇想,想到要是能在雙腿縛上長梯,便能輕易採摘蘋果,亦因 而設計出他的第一對高蹺。

    其後,一位朋友向Gilles提到美國佛蒙特州(Vermont)的麵包傀儡劇團(Bread and Puppet Theater),愛以踩高蹺作為很多表演項目的特色所在。Gilles 親身到該劇團觀摩,更領悟 到他以踩高蹺來採摘蘋果的技巧,可能會在娛樂事業中大派用場。

    到了1980年,Gilles 聯同一群街頭表演者成立了拜聖保羅高��表演團,其後更舉辦了「拜 聖保羅狂歡節」,呈獻形形色色的街頭表演。及至 1984 年,Gilles 攜手 Guy Laliberté創 辦了太陽劇團。

    1984及1985年,Gilles 為太陽劇團設計並演出很多高蹺劇目。在 1988 年,他成為戲團 的藝術總監,並在世界各地發掘潛質優厚的人才。1990 至 2000 年間,他擔任劇團創 作總監,負責劇團於期內的所有製作項目,包括:《Nouvelle Expérience》、《藝界人生》 (Saltimbanco)、《飛躍之旅》(Alegria)、《神秘境界》(Mystère)、《奇幻之旅》(Quidam)、 《夢幻嘉年華》(La Nouba)、《“O”》及《超越極限》(Dralion)。在1992年,他執導了太陽戲 團在日本首個於大帳篷演出的項目《Fascination》。此外,德國馬戲團餐廳「Pomp Duck and Circumstance」令人拍案叫絕的精彩晚宴表演,亦是由 Gilles 於 1997 年率先執導,開 創先猷。

    及至2000年,Gilles 在繼續任職太陽劇團顧問的同時,決定實現他其中一個偉大夢想: 由於他對馬匹非常著迷,所以自創公司,並於 2003 年製作了名為《Cheval-Théâtre》的表 演,最大特色是由 30 匹馬以及眾多雜技藝人在巨大帳篷內演出。《Cheval-Théâtre》曾在北 美洲十個城市巡迴演出。

    2002年12月起,Gilles 重返台陽劇團,担任新項目發展部的創作副總裁,并於 2006 年 7月獲任命為創作內容高級副總裁。

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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

    創意總監

    Neilson Vignola 於 1980 年自加拿大國家戲劇學院 (National Theatre School of Canada) 畢業。職業生涯始於許多蒙特婁著名劇團,包括 Théâtre de Quat’Sous、Théâtre du Nouveau Monde、Compagnie Jean Duceppe 以及 Espace Libre。

    Neilson 1985 年獲得加拿大藝術理事會 (Canada Council for the Arts) 以及魁北克藝術文化部 (Ministry of Arts and Culture of Quebec) 所提供的獎學金,負笈前往歐洲,在當地待了一年,觀摩許多歌劇導演作品。 1986 年,於 Opéra du Nord in Lille 參與製作 The Tales of Hoffman (霍夫曼的故事),以及 Robert Altman 的 The Rake’s Progress (浪子的生涯)。 1989 年參與製作 Aida (阿伊達),該劇於東京與多倫多公演。 1990 至 1993 年間,擔任 Opéra de Montréal 總監。 1996 年,參與製作Turandot (杜蘭朵),該劇於蒙特婁奧運體育場 (Montreal Olympic Stadium) 公演。接著在 1997 年,執導 La Cenerentola (灰姑娘),該劇於麥基爾大學 (McGill University) 公演。

    隨後 Neilson Vignola 開始在歌劇世界中嶄露頭角,於 Robert Lepage 執導多部作品時擔任助理。例如 The Damnation of Faust (浮士德的天譴),該劇分別於 1999、2001,以及 2008 年在日本、巴黎,以及紐約公演;1984 (2005 年於倫敦全球首演) 與 The Rake’s Progress (於 2007 年於布魯塞爾及里昂公演)。

    在職業生涯中,Neilson 也曾參與戲劇節、音樂劇、舞蹈以及巡迴表演的製作。 在 1987 至 1997 年間,La La La Human Step、魁北克歌手 Diane Dufresne、Le Théâtre Populaire du Québec、Le Festival International de Nouvelle Danse 以及其他單位,陸續力邀其擔任舞台經理、製作總監、技術指導或助理舞台導演。

    Neilson 自 1998 年首度與太陽劇團合作,擔任技術指導之來,便與太陽劇團密切往來,隨後擔任 Saltimbanco (藝界人生) 臨時巡迴總監。 於 2002 年接下發展全新巡迴表演架構之任務後,加入 KÀ 擔任導演 Robert Lepage 之助理,以及製作舞台經理。接著在 2005 年,再度以導演助理及製作舞台經理身份與 Michel Lemieux 以及 Victor Pilon 合作 DELIRIUM (虛擬幻境) – 這些皆奠定了他擔任 ZAIA 創意總監的基礎。

    Neilson 表示:「對我而言,最大的滿意就是獻上一齣能夠觸動觀眾情感的演出。」 「這需要大家通力合作,而我身為一份子,樂在其中。 我不喜歡單打獨鬥, 我欣賞眾人激盪出來的火花。」

    Neilson Vignola 1956 年出生於魁北克 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

    編舞

    Jeff Hall 最為人津津樂道之處,就是善於揉合他對體育運動的狂熱愛好,以及非凡的藝術造詣。他巧妙創新地將幽默風格、精彩對白及身體動作共冶一爐,成為舞台上的出 色作品。作為 1989 及 1990 連續兩年的加拿大花式飛碟冠軍,Jeff 為了提升個人技巧而 於大學時期選修舞蹈學科,亦因而踏上表演藝術的行列。他持有加拿大康哥迪亞大學(Concordia University)的當代舞學士學位,並在麥基爾大學(McGill University) 修讀古典音樂。

    Jeff 畢業初期曾與不少獨立編舞師共事,其後則找尋到事業發展路向��加入當代舞蹈團 Fondation Jean-Pierre Perreault、JOE 及 Piazza。1990 至 1995 年間,他效力於蒙特利爾劇 團 Carbone 14,並在世界各地巡迴演出,期間曾參與《Café des Aveugles》舞蹈劇及其電 影版,亦曾參演《Le Dortoir》及由導演 François Girard 將其改編而成的獲獎電影。

    1992 至 1998 年間,Jeff 在舞蹈團 PPS Danse 擔任聯席美術指導,與同事攜手創作了在歐美 等地巡迴演出的《Bagne》。他亦與視覺藝術家 Michel Lemieux 及 Victor Pilon 合力創作了多 媒體作品《Pôles》。此外,他曾於 1999 年在瑞士集體創作《OMA》中粉墨登場,並任教於 加拿大魁北克省的凡爾登馬戲學校(l’École de Cirque de Verdun),創作了三項周年學生表 演。他亦參與創作一個大受歡迎的兩小時馬戲表演《Les Écureuils》,自 2005 年至今曾經 欣賞該項表演的小朋友總數超過 16,000 名。

    Jeff 於 2001 年重投 Carbone 14 擔任表演者,在 Gilles Maheu 執導的新作《Silences》中演 出。翌年在 Carbone 14 的作品《Bibliothèque》中,Jeff 更成為了 Gilles 的副手。同年,他協 助著名導演 Robert Lepage 將《龍之三部曲》(Trilogie des Dragons)重現舞台,及在 Marie Brassard 執導《La Noirceur》期間從旁協助。該兩位導演的作品均於 2003 年度「美國戲劇 節」中亮相。Jeff 其後在 l’Institut National de l'Image et du Son(INIS)修畢了一項電影導演 課程。

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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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