Luc Tremblay


From 1986 to 1996, Luc Tremblay was artistic director and official choreographer of Danse Partout. Under his direction, the company realized many creative projects and made a number of tours, and at Québec City’s Arts and Culture Awards Ceremony in 1991 it received the Prix Ville de Québec. Luc Tremblay was appointed general manager of the company in 1994, and began laying the groundwork for Québec City’s centre for contemporary choreography, La Rotonde, which officially opened in 1996.

  • Luc Tremblay
  • Montreal
  • Choreographer and Educator

Since 1980, Luc Tremblay has produced over forty choreographic works for professional dance, theatre and circus companies, and for dance schools. A number of these works have toured in Canada and abroad. His choreographies La Débâcle, Mirages and Le charme persiste mais n'opère plus for Danse Partout, and his theatrical and choreographic direction of ÉCHOS for the new circus company les gens d’R, in particular, have helped to establish his reputation with international audiences and critics.

Also respected as an educator, Luc Tremblay has taught at many nationally and internationally renowned institutions. In the period since 1999, Luc Tremblay has been Artistic Coach, Artistic Training Supervisor, and Artistic Director, in turn, for the shows La Nouba, DELIRIUM and KOOZA.

What approach do you take with the dancers in the projects you’re involved in at Cirque?

Since I myself come from the dance community, I’m always looking for better ways to highlight dancers in Cirque du Soleil shows, and to help them fit comfortably into the circus world.

What’s the most interesting thing about working with dancers who come from such a variety of backgrounds and nationalities?

In my view, blending nationalities has always helped generate a rich creative brew at Cirque du Soleil, and that applies for dance as well.Internationally, we’re also seeing more and more dialogue between cultures, between artists, between the various creative styles. That’s tremendously conducive to the emergence of new artistic forms.

How would you describe your creative philosophy?

I find it essential to observe the artists I’m working with very closely, to get a clear picture of their personalities and become thoroughly familiar with their strengths and weaknesses. That lets me make the most of the unique assets each can contribute to the creative process.

How do you see the role of dance at Cirque du Soleil?

Dance is playing an increasingly important role in our shows. We’re casting more dancers, whereas before, most of the troupe would be acrobats. In a show like DELIRIUM, for instance, dancers are the largest group in the cast.

From a creative standpoint, dance gives us a richer, more diverse palette; it adds complexity to the vocabularies of movement we use in our shows.

What do you find most stimulating about working for Cirque du Soleil?

At Cirque du Soleil, excellence is a daily affair. You have to know how to keep your work fresh, stay creative; you have to be able to work in a team. Also, Cirque du Soleil is in the process of becoming a truly major artistic crossroads, a forum where artists and acrobats from all backgrounds can share experiences.