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T h e U n o f f i c i a l
C i r q u e d u S o l e i l N e w s l e t t e r
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http://www.CirqueFascination.com
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VOLUME 15, NUMBER 12 December 2015 ISSUE #143
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Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
It's been quite a wild month, hasn't it? Between the fervor around the
announcement that Cirque2016 is officially Lúzia and SodaCirque (the
previously announced musical collaboration between Cirque du Soleil
and Soda Stereo), to the excitement surrounding TORUK-The First
Flight's premiere in Bossier City, the airing of The Wiz on NBC, and
PARAMOUR being featured aboard the DREAMSEAKER in this year's Macy's
Thanksgiving Day Parade... yeah, it's been quite a month for Cirque du
Soleil. But that's not all! It seems Cirque is ramping up its plans to
begin construction on that resident show in Hangzhou, China, will once
again set sail upon the high-seas with experiences on MSC Cruise Line
ships, and has even signed a contract to place some kind of show or
experience at a theme park in France. Details regarding all of these
announcements can be found in our NEWS section this month.
And throughout all of this chaos, at 9:00pm on November 20th, La Nouba
celebrated its 8,000th performance! How about that! Check out an image
here: (http://www.cirquefascination.com/?p=6889). It's a bittersweet
milestone though, as La Nouba continues to change. We've already
discussed some of the upcoming changes - that a B-Boy dance group will
replace the opening jump rope number and an aerial pole performance
(similar to what was featured in ZAIA before it closed) will replace
high-wire - but it also seems that by the new year La Nouba will lose
its counter-tenor too. Ralph Daniel Rawe, who has performed the male
counter-tenor voice at La Nouba since January 2004 with aplomb, will
be moving on... and Cirque du Soleil has decided not to fill that
role. (Just as they decided not to fill the Pierrot Acrobat's role
when he left.) Counter-Tenor was a major part of that show and its
loss is disheartening!
On a brighter note, on November 23rd, Cirque du Soleil's twitter feed
teased that the world of OVO was buzzing with action again, and it
didn't take long for a new tour - an arena tour - to be announced!
Check out dates in our ITINÉRAIRE section this month to see when OVO
will be coming to your city. The tour begins on April 8, 2016 in Lake
Charles, LA! JOYA celebrated it's 1 Year anniversary this month too,
and we're quite excited to announce that a CD featuring the show's
music is on the way! According to JOYÀs Facebook page, in just a few
more days, the JOYÀ CD will be on sale at the theatres boutique. No
word yet whether it will be available digitally (on iTunes or Amazon),
or be for sale through Cirque du Soleils online boutique. But it's
finally here Cirque music fans!
Did you miss watching THE WIZ LIVE on NBC the other night? If so,
don't fret! You can still catch the special in a number of ways:
first, via a re-broadcast the evening of December 8th. Second, you can
now find a stream on Hulu. And third, on DVD, beginning December 22nd!
Also included on the DVD will be the NBC special, The Making of The
Wiz Live, featuring the behind-the-scenes story of producing this live
television event. Thursday's live telecast of The Wiz Live delivered
hit ratings, averaging a 3.4 rating, 11 share in adults 18-49 and 11.5
million viewers overall to dominate the night for NBC. It was the
network's best Thursday average in total viewers, excluding sports,
since September 2014, and nearly tripled NBC's best 18-49 Thursday
average, excluding sports.
In FEATURES this month we continue our look back at Guy Laliberte's
Poetic Social Mission into space. In Part 1, "The Countdown Begins" we
listened as Guy took us through his first steps. In Part 2, "Training
Kicks Up a Notch", Guy got settled in, and passed a few essential
tests. In Part 3, "Getting My Hands Dirty", Guy gets down into the
nuts and bolts of his training, and now we continue with him getting a
bit more hands on with the actual equipment he'll be flying in,
covering the month of August 2009. We're half-way through! The second
feature is a fantastic read on the 2015 Pan-Am Games Opening
Ceremonies by Lighting & Sound America. This lengthy article by Alan
Hardman, was published in the magazine's October 2015 issue, and dives
right into the technology and staging of the opening ceremony that 45
DEGREES wonderfully put together. It may have looked easy but it was
quite an undertaking! And we thought we'd honor Corteo's closure with
something a little special: an interview our friends over at
TheChapiteau did with Gabriel Christo a couple of months back when he
was still with the show. Well miss Corteo when it closes later this
month, but it warms our heart to hear how favorable Gabriel talks
about Corteo, and, of course, what hes doing now (which is also
relevant!)
As always we also have the relevant posts made to Cirque's Facebook
pages, and updates to Cirque's touring schedule.
So, let's get started!
/----------------------------------------------------\
| |
| Join us on the web at: |
| < www.cirquefascination.com > |
| |
| Realy Simple Syndication (RSS) Feed (News Only): |
| < http://www.cirquefascination.com/?feed=rss2 > |
| |
\----------------------------------------------------/
- Ricky "Richasi" Russo
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CONTENTS
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o) Cirque Buzz -- News, Rumours & Sightings
* La Presse -- General News for the Month
* Q&A - Quick Chats & Press Interviews
* Special Engagement - More In-depth Articles
o) Itinéraire -- Tour/Show Information
* BigTop Shows -- Under the Grand Chapiteau
* Arena Shows -- In Stadium-like venues
* Resident Shows -- Performed en Le Théâtre
o) Outreach -- Updates from Cirque's Social Widgets
* Club Cirque -- This Month at CirqueClub
* DidYaKnow? -- Facts About Cirque
* Networking -- Posts on Facebook & Other
o) Fascination! Features
*) LOOK BACK: Guy Laliberte's Poetic Social Mission
PART 4 of 8: "From Training to Reality"
By: Ricky Russo - Atlanta, Georgia (USA)
*) SPECIAL: "The Canadian Panorama: The 2015 Pan
Am Games" By: Alan Hardiman, published in
Lighting & Sound America October 2015 Issue
*) INTERVIEW /// "Gabriel Christo - Teeterboard, Corteo"
By: The Chapiteau, a Cirque du Soleil Fan Club
o) Subscription Information
o) Copyright & Disclaimer
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CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
---------------------------------------------------
LA PRESSE General News for the Month
---------------------------------------------------
Cirque Gearing Up For Hangzhou Resident Show
{Nov.03.2015}
-------------------------------------------------------
According to an article on La Presse this morning, it looks as
if Cirque du Soleil is gearing up to construct its Hangzhou
Resident Show.
Translated from La Presse:
The first permanent Cirque du Soleil in China is scheduled for
early 2018. Creative Guide Jean-François Bouchard showed the
media animated 3D plans for this new theater, to be built in the
city of Hangzhou in the coming year. These plans were approved
in the last few months by its Chinese partner, Fosun Capital
Group.
The building in question is an old warehouse that is part of an
old rail yard recently transformed into apartments, and work to
transform the area into a new Cirque du Soleil theater is to
begin in the coming weeks.
According to the plans of the new theater, the audience will
first be asked to enter a room where they will view video
projections.
It will be a kind of appetizer or introduction to the
performance, says Jean-François Bouchard. The island where the
spectator seats are located will move. At one point the audience
will face each other. One way to illustrate the yin and yang,
says Jean-François Bouchard, who is working on the basis of this
show with creative director Toruk, Neilson Vignola.
There are still many things to be clarified, but what I can
tell you is that the public is always moving, and thats
completely new to Cirque. Even the sets will position themselves
automatically to the different performance spaces.
In the coming weeks Bouchard will introduce the creative team.
Discussions are underway with a director whose identity will be
revealed later.
{ SOURCE: La Presse | http://goo.gl/qZLwY7 }
Cirque Goes Cruising Again, with MSC Cruises
{Nov.09.2015}
-------------------------------------------------------
MSC Cruises -- the Geneva, Switzerland-based global cruise line --
today announced a long-term partnership with Cirque du Soleil --
the Quebec-based world leader in artistic entertainment -- that
will set new standards in live entertainment at sea. In a first
at sea, brand new Cirque du Soleil shows will be created
exclusively for MSC Cruises guests aboard the cruise lines
next-generation Meraviglia ships in a multi-million dollar,
ground-breaking entertainment and dining venue, designed in
collaboration by MSC Cruises and Cirque du Soleil.
Exquisite dining and award-winning entertainment are two key
distinguishing elements of the MSC Cruises experience. To
elevate these two elements to the next level, MSC Cruises and
Cirque du Soleil together imagined and are building a completely
custom-made, latest-technology dining and entertainment venue --
the first of its kind at sea -- for MSC Cruises Meraviglia
ships. This is where MSC Cruises guests will be able to enjoy
brand new, exclusive Cirque du Soleil shows, six nights a week,
two performances per night -- all while enjoying an extraordinary
MSC Cruises culinary experience.
The specifically-designed venue represents an industry-first $21
million investment, in which the custom-built entertainment and
dining Aft lounge is equipped with the latest technology and
best-suited to the needs of both Cirque du Soleil artists and
guests. The 10,760 sq ft, 450-seat Aft lounge will feature a
200-seat dining area so that guests can enjoy an exquisite
dinner or drinks before the performance. Cirque du Soleils
world-class artists will deliver two shows created exclusively
for MSC Cruises that will capture the imagination of all guests.
Shows and related dining options will be available only to MSC
Cruises guests aboard the four next-generation Meraviglia
project ships, the first of which -- MSC Meraviglia -- is set to
sail its inaugural season in the Mediterranean from June 2017.
MSC Cruises is a company built on innovation, from the unique,
prototype ships we design and build to the on-board experiences
we conceive and create, said Pierfrancesco Vago, Executive
Chairman of MSC Cruises. Together with our newest world-class
partner, Cirque du Soleil, we imagined and are now designing a
totally new, live entertainment experience exclusively for our
guests; an original show in a multimillion-dollar custom-built
venue aboard a ship we designed ourselves, down to the last
detail. Its this commitment to innovation, and the vision and
creativity that only a family-owned company can apply, that make
MSC Cruises so distinct.
We have found in MSC a long term partner with a clear vision
about trends in the cruising industry and a strong desire to be
the leader by bringing entertainment on board to a whole new
level, said Yasmine Khalil, President 45 DEGREES, Cirque du
Soleils Special Projects Company. For Cirque du Soleil, this
is what inspires us and provides us with a great creative
challenge that we require for each new relationship and project
that we embark on.
This ground-breaking new offering will first be available aboard
MSC Meraviglia, the most innovative cruise ship ever built by a
global European-based cruise line. The cutting-edge 4,500-guest
(based on double occupancy), 167,600-GRT ship -- due to be
delivered in May 2017 -- will spend her first summer sailing the
western Mediterranean, and will be the first to have three major
ports of embarkation: Genoa, Marseille and Barcelona. Cruises
for MSC Meraviglias inaugural season are already on sale and
can be accessed here or via preferred travel agents around the
world.
For more information on MSC Cruises partnership with Cirque du
Soleil, visit https://www.msccruisesusa.com/en-
us/Partnerships/Cirque-Du-Soleil-MSC-Cruises.aspx
{ SOURCE: 45 Degrees }
More on Cirque creating new shows for MSC Cruises
{Nov.10.2015}
-------------------------------------------------------
Gianni Onorato, Geneva-based CEO of MSC Cruises, said the shows
have yet to be designed, but will be in the typical Cirque
style, adapted for the conditions of a cruise ship.
The company plans to invest $20 million on each of the four
Meraviglia ships to build a theater space that will be co-
designed by Cirque. The 450-seat space will seat about 200 for a
pre-show dinner, with another 250 seats for spectators who can
order drinks.
Like at a club, those not dining will pay a cover charge,
Onorato said. Renderings of the theater show an aft lounge close
to the water with dramatic high window views. (See them here:
http://www.cirquefascination.com/?p=6805)
Onorato said the dinners will be as stylish as the shows, and
food will be served with spectacular interventions of artists.
The 4,500-passenger MSC Meraviglia, the initial ship in the
class, will debut in June 2017 in the Mediterranean, followed by
three similar vessels. Cirque will create a pair of new shows
for each ship. Performances are planned six nights a week, with
two shows a night.
Cirque has previously been to sea with Celebrity Cruises, which
in 2004 announced a plan to rebuild a bar on two of its ships as
The Bar at the Edge of the Earth.
Costumed Cirque artists interacted with guests accompanied by
special effects, visual projections, music and ambient sounds.
But the program was put on hiatus in its second year and
eventually disappeared.
I understand it was something completely different from what we
mean this time, Onorato said.
(ED: Quebec-based Cirque du Soleil once had a partnership with
Celebrity Cruises, the former line of Richard Sasso, current
President and CEO of MSC Cruises (USA). While the creative
collaboration with Celebrity received a mixed response due
mostly to poor integration with its existing fleet, the MSC one
is on track to be a more tailor-made fit.)
{ SOURCE: USA Today | http://goo.gl/IJGCZB }
Criss Angels Believe honored as Best Magic
Show in Las Vegas
{Nov.11.2015}
-------------------------------------------------------
Magician Criss Angel has yet another milestone to celebrate with
his Believe production. It was named Best Magic Show by In
Vegas Magazine.
This marks the third consecutive year that Angel and his team
receive this honor by In Vegas Magazine. The show is a
combination of magic tricks with the charm and charisma of
Angel, coupled with the theatrical production of Cirque du
Soleil.
Thanx for the amazing honor EVERY YEAR since it began & NO
other magician EVER received-not even for 1year @ Luxor LV,
Angel posted on his Facebook page.
Most impressive about Believe is that it is a newly-updated
show, which encompasses the magic tricks presented in Mindfreak
Live! in an atmosphere that is both dark and Gothic.
Angel and his team just celebrated the 7th year anniversary of
Believe at the Luxor Hotel and Casino in Las Vegas, where he
has done over 3,000 performances.
The master magician is making his world premiere in his latest
magical production, The Supernaturalists at Foxwoods Resort
Casinos The Fox Theater. He served as director, creator and
executive producer of The Supernaturalists.
{ SOURCE: Digital Journal | http://goo.gl/3mwxmV }
One Drop Unveils Fourth Edition of One Night for
One Drop at The Smith Center March 18
{Nov.12.2015}
-------------------------------------------------------
Tickets are now on sale for the fourth annual One Night for ONE
DROP charity gala, an extraordinary, one-night-only experience
created to raise funds and awareness for critical water issues.
Presented by MGM Resorts International, the star-studded benefit
will make its debut at The Smith Center on Friday, March 18, as
artists from all eight Cirque du Soleil shows in Las Vegas come
together to present a completely original production alongside
world-renowned guest performers.
Individual, tax-deductible VIP tickets, which include the post-
show extravaganza and after-party, are available for $3,000,
with show-only tickets starting at $100. Sponsorship packages
and individual tickets are available at onedrop.org/onenight or
by calling 1.844.33.WATER. In addition to the show, packages
will include exclusive backstage experiences and pre-and-post-
show parties complete with live performances, breathtaking
attractions, Cirque du Soleil artists, delectable hors
doeuvres, celebratory cocktails and more.
{ SOURCE: Las Vegas News | http://goo.gl/aqzjMp }
New Show for France: La Forge aux étoiles
{Nov.13.2015}
-------------------------------------------------------
45 DEGREES and the Futuroscope are proud to announce a joint
project to create a new evening show entitled La Forge aux
étoiles, an aquatic fairytale from the creators of Cirque du
Soleil! The show will be performed on a 7,000 square-meter
outdoor stage through a system of laser projections, water
fountains, fireworks, and fire. It is scheduled to open in
2016, play 250 times a year, and run for four to five years at
the park.
This collaboration will allow us to pool and share the creative
spirit that drives us in creating extraordinary visual
experiences, issues of marriage between technology and art,
said Dominique Hummel, CEO of Futuroscope Approaching our 30th
anniversary, this new creation is intended as a gift to our
visitors inviting them in a magical universe and unrivaled and
unique dream world, he added.
In the coming months, the team of 45 DEGREES, the company of
special projects of Cirque du Soleil, will thus take ownership
of the 7000 m² of aquatic scene Futuroscope. We are excited to
work with the Futuroscope to offer a new experience, combining
visual and sound technology with water. The night show is custom
designed for the Futuroscope, by the creative team of Cirque du
Soleil. The Park is an outstanding laboratory for us to develop
new visual sensations, says Yasmine Khalil, President of 45
DEGREES.
This is a panel of visual, water and pyrotechnic effects that
merge in the next night show Futuroscope. In a constellation of
poetic paintings he will invite young and old to become the
privileged witnesses of the friendship between a young girl and
a real cosmic giant with feet on the ground and head in the
stars. By adding the talent, increased creativity and expertise
internationally renowned Cirque du Soleil, Futuroscope reaffirms
its willingness to partner with its development talent of big
names in the art world, by providing a framework and
unprecedented technological jewel.
{ SOURCE: La Presse | http://goo.gl/PbclUx }
Rokardy is Back in Zarkana!
{Nov.15.2015}
-------------------------------------------------------
According to his Facebook page
Im back to the amazing show ZARKANA in Las Vegas for several
days coming to enjoy the show and my new chairs balancing act.
Rokardy
hes back (for a few days)!
TOTEM Officially Debuting 2 New Acts!
{Nov.16.2015}
-------------------------------------------------------
According to TOTEMs Facebook page, they are officially
premiering their two new acts in rotation Contortion &
Escalade with Singapore media and 1,000 local Cirque Club
members! Thank you to DHL for the support in the creation of
these two new scenes!
Contortion: Two industrious creatures emerge from the sea, to
play, crawl, twist and build complex pyramids on the seashore.
Their incredible figures seem to defy both gravity and physics.
Be prepared to be awed by the flexibility and agility of these
two artists Ulziibuyan Mergen and Oyun-Erdene Senge.
Escalade: The businessman is stripped bare and flung into the
heart of the jungle where his inner struggle is put to test.
Atop a tree-like structure inspired by the acrobatic discipline
of Chinese pole, man and primate circle and climb in a battle
for dominance. Gael Ouisse shared that it was with more than 8-
months of intense training to master the act as it combines
multiple skills such as parkour, pole and acrobatics.
Check out the images here:
http://www.cirquefascination.com/?p=6838
Check out a teaser video of Escalade here:
https://www.facebook.com/Totem/videos/1071271586226864/
{ SOURCE: Cirque du Soleil }
Grammy-Nominated Composer Joins Paramour Creative Team
{Nov.17.2015}
-------------------------------------------------------
Five-time Grammy Award nominee and two-time Emmy Award winner
Andreas Carlsson has joined the creative team of Cirque du
Soleils forthcoming first-ever, made-for-Broadway musical
Paramour, scheduled to open at the Lyric Theatre in May 2016.
He will be co-composer with the previously announced team of Bob
& Bill (a.k.a. Guy Dubuc and Marc Lessard). Carlsson will write
the shows title song.
Carlsson has written for The Backstreet Boys, Bon Jovi, Def
Leppard, Celine Dion, Ricky Martin, Katy Perry, Leann Rimes,
Britney Spears and Carrie Underwood. In 2001 he won the ASCAP
Songwriter of The Year Award as the most performed pop writer on
radio that year. Paramour, the story of a young poet in
Hollywood, will mark his debut as a Broadway songwriter.
{ SOURCE: Playbill | http://goo.gl/iOUez0 }
VIDEO /// Paramour Auditions for Broadway
{Nov.18.2015}
-------------------------------------------------------
Prepare to get swept off your feet by PARAMOUR, a rapturous and
passionate new experience that unites the signature spectacle of
Cirque du Soleil with the storytelling magic and music that
define Broadway. Set in the glamorous world of Golden Age
Hollywood, this groundbreaking event spins the tale of a
beautiful young actress forced to choose between love and fame.
PARAMOUR seamlessly blends a romantic plotline, musical numbers
and exuberant dancing with heart-pounding acrobatics to create a
journey of unprecedented depth and dimension. Featuring a cast
that brings together the worlds best circus and Broadway
artists, PARAMOUR will transport you to a world of sublime
beauty and emotion as it walks the exhilarating tightrope of the
heart.
Check out another video about Paramour here:
LINK /// < https://youtu.be/PlAD7lVysls >
{ SOURCE: YouTube }
Rogue Films & Cirque du Soleil Beautifully Visualise
a Revolution in Lipton Tea
{Nov.19.2015}
-------------------------------------------------------
Saam Farahmand at ROGUE FILMS created this revolutionary
advertisement for Liptons new TO Tea machine for Tribal
Worldwide London in collaboration with adam&eveDDB.
Saam Farahmand is an award winning music video director, and in
this project he works with a renowned team of artists and
performers including Cirque du Soleil.
The advert combines cutting-edge filming techniques with
beautiful in-air and underwater performances by Cirque du
Soleil. These tangibly visualize T.O by Lipton in action and
show the revolution in flavor.
The ad draws inspiration from T.O by Liptons visible brew orb,
a unique aspect of the product in which you can see the tea
brewing. To create a visualization of the tea leaves dancing and
blending inside the orb, Cirque du Soleil performed underwater
in colorful outfits representing specific flavors each one
behaving as the tea leaves and capturing the spirit and essence
of the brewing process.
EXPERIENCE VIDEO: https://vimeo.com/143997522
BEHIND THE SCENES: https://vimeo.com/143718956
{ SOURCE: Little Black Book | http://goo.gl/2AT48K }
Catch Zarkanas Lobby Performance on Periscope
{Nov.20.2015}
-------------------------------------------------------
Miss Zarkanas performance at Aria Las Vegas?
Check it out on Perisope!
LINK /// < https://t.co/rYPkCkynt3 >
{ SOURCE: Cirque du Soleil }
Grupo Vidanta Celebrates 1 Year Anniversary of JOYÀ
{Nov.26.2015}
-------------------------------------------------------
Grupo Vidanta celebrates the one-year anniversary of JOYÀ by
Cirque du Soleil, a first-of-its-kind culinary and theatrical
experience in Riviera Maya. Located at Vidantas Riviera Maya
destination, JOYÀ is Cirque du Soleils first resident show in
Mexico housed at the award-winning, custom designed theater. The
production debuted in November 2014 as a result of a unique
collaboration pioneered between Cirque du Soleil and Grupo
Vidanta, a leading developer of resorts and tourism
infrastructure in Mexico and Latin America. In its first year,
JOYÀ has successfully attracted thousands of destination
visitors to the region, and has garnered international
recognition as one of the most unique Cirque du Soleil
experiences in the world. To date, JOYÀ has performed over 300
shows, which have been consistently sold out and met with rave
reviews.
Renowned throughout Mexico for its innovative architecture and
engineering, the 600 seat theater was custom-built for JOYÀ and
offers a one-of-a-kind, intimate experience with elements of
Mexican art and heritage. Inspired by the natural beauty of
Riviera Maya and rooted in the richness of the local culture,
the Cirque du Soleil Theater, designed and constructed by Grupo
Vidanta, was awarded the 2015 Building of the Year by leading
Mexican architecture and construction magazine Obras by Grupo
Expansión, recognizing it as the most important facility
constructed in Mexico this year.
Vidanta is proud of the success that JOYÀ and its magnificent
theater have experienced in the first year, said Iván Chávez,
Executive Vice President of Grupo Vidanta. The show has had a
positive impact on the economy in Riviera Maya through the
creation of jobs and increase in destination visitors, and we
look forward to the continued growth and success of our
partnership with Cirque du Soleil.
JOYÀ is an innovative theatrical experience, combining culinary
and performing arts that engages the audiences five senses.
Drawing on Mexicos history and heritage, JOYÀ tells the story
of an alchemist and his granddaughter embarking on a
transformative quest to uncover the secrets of life. Mexicos
culture inspires the entire show, from costumes and set design
to the acts included in the production. Unlike any other Cirque
du Soleil show, JOYÀ provides a culinary and champagne
experience for guests, featuring an inspired menu and the
original Moët Champagne Mercier, available exclusively at the
Cirque du Soleil Theater.
We are thrilled about the enthusiasm surrounding JOYÀ over the
past year, said Yasmine Khalil, Executive Producer of JOYÀ,
Cirque du Soleil Group. The response has been extremely
positive and our artists and technicians look forward to sharing
the JOYÀ experience with the audience at each and every show.
This unique production and setting touches the audiences and
offers each guest a unique culinary and entertainment
experience.
Grupo Vidanta, together with Cirque du Soleil, celebrated the
anniversary of JOYÀ on Saturday, November 21st with a
celebration of 600 esteemed guests at the Cirque du Soleil
Theater in Riviera Maya. Guests were treated to the JOYÀ VIP
dinner experience and show, followed by an after party.
Check out the images associated with this post here:
http://www.cirquefascination.com/?p=6964
{ SOURCE: PRNewswire | http://goo.gl/8YNphr }
Cirques Sama-Sama Live Experience Enabled With W-DMX
{Nov.27.2015}
-------------------------------------------------------
Wireless Solution recently participated in the performance Sama-
Sama Live Experience for Cirque du Soleil. The project invites
the audience to immerse themselves in a parallel universe where
they will follow the story of a mysterious community known as
the Samis, who have built a unique space for creativity and
inspiration, bringing people together through the joy of
creation in a way never experienced before. They call this place
Sama-Sama, which means together in Filipino.
The Samis (performers) danced and sang in the middle of the
crowd holding and juggling a long light pole, designed by
interactive experiences designers Rafael Mizrahi and Mickey
Martin the object was made of telescopic aluminium poles and
3D printed plastic parts, making it lightweight for the
performers. Wireless Solutions provided the most reliable
Wireless technology, and the fastest to communicate with the
lighting in such a crowded radio environment says Mizrahi when
asked about the choice of brand.
Inside each staff there was a Nano RX OEM module of 5 volts with
an internal antenna. We used Madrids Arena, a venue of 100m x
60m wireless range of very important to us, also considering
the thousands spectators with in the area with mobile phones. We
also a single Blackbox F-1 with a standard 3dBi antenna, placed
at the centre of the venue to transmit the signal this covered
the area seamlessly!, added Rafael.
Sama-Sama takes the audience on a 360-degree immersive journey
to a parallel universe. A dozen large-scale interactive
installations urge the audience to unleash their creativity,
become performers, to play and have fun.
Each pole had two rings of 25 RGBW addressable LEDs. There was
only one universe of DMX transmitted through the F-1, which was
connected to a grandMA2. We assigned 8 DMX channels for each
pole and controlled the RGBW colours of each ring each DMX
channel was a colour for the ring, per pole. In addition to the
8 channels per 12 sticks, we added 200 more to control the same
pixel in all the sticks, making a total of 296 channels. We were
able to play the same light chase together and different chases
individually.
As for the power consumption, each pole contained a 5200mAh LiPo
battery that lasted for over 3 hours, of which 80mAh were used
by the Nano RX card.
The individual installations were created exclusively by the
Sama-Sama team and featured user-friendly interfaces and
intuitive instructions designed to fully engage the audience.
The Sama-Sama journey culminated in a grand finale where all
audience members became part of the Sami community.
Recognized for its innovative approach and high quality artistic
entertainment, Cirque du Soleil provided guidance in the
development of this live experience as well as acting as a
business partner in the venture. We see great potential in
Sama-Samas new immersive concept and have decided to come on
board. This innovative approach is unique and we believe it will
touch audiences in a brand new way said Charles Joron of
Cirque.
Videos can be watched here:
LINK /// < https://www.youtube.com/watch?v=bwNyiC5VPzg >
Credits:
W-DMX Electronics & Software: Rafael Mizrahi
http://rafaelmizrahi.blogspot.com
Model Design & Manufacture: Mickey Martin
http://fuznot.wix.com/fuproductions
Artistic Director: Amir Schorr
http://samasamalive.com
Lights Architecture: Cochavi & Klein
http://www.cochavi-klein.com
{ SOURCE: Live Design | http://goo.gl/ni3n5K }
---------------------------------------------------
Q&A - Quick Chats & Press Interviews
---------------------------------------------------
Q&A w/ Quidams Australians on Tour
{Nov.16.2015}
-------------------------------------------------------
Running away to the circus might be the childhood cliche, but
Cirque Du Soleil performer Lisa Skinner and assistant head of
rigging Robert Wilson are two Australians who have travelled the
world living the dream.
As a gymnast with three Olympic Games, four World Championships
and two Commonwealth Games gold medals under her belt, Skinner
was used to performing in front of big crowds before joining
Cirque Du Soleil almost nine years ago.
But switching from the competitive to the creative side of
gymnastics had one fundamental difference for the only
Australian performer on the final tour of Cirque show Quidam.
In competition youre trained to block out the crowd and just
concentrate on what youre doing perfectly, she says.
Here [with Cirque] no matter what youre doing, whether you
screw up or do it better or worse, you have to bring the
audience in to what youre doing and express things in a
theatrical sense.
They dont care if youre perfect or not, they just want to see
something cool.
And in Quidam cool is what she and the two other aerial hoop
performers aim to deliver when they pivot, twirl and spin so
fast hoops and performers become indistinguishable silver-and-
red blurs high above the stage although she insists they could
spin faster if it werent for the weight of the metal
apparatuses.
Its Wilsons responsibility, with his two fellow riggers, to
keep people and objects suspended safely.
He started as a casual crew member on Cirques previous
Australian tours in his home town of Brisbane, after leaving the
printing industry, before he started touring as part of the
family in 2007.
I did it for a few weeks then I looked up to the roof and there
were guys climbing around and hanging stuff and I thought, That
looks like fun, how do I get to do that?, he said.
In a job where peoples lives are in your hands it takes a
little while to get established, but after a while when you get
a reputation it snowballs from there.
Before her time with Quidam, Skinner performed on the trampoline
in Alegria; she is now also the back-up for one of Quidams
principal characters, Target, putting her hip-hop and breakdance
background to use.
When she tours with Cirques Quidam from December, it will be
her first time performing on Australian soil and she admits its
a prospect she finds nerve-racking.
Ordinarily, you can do it [perform] half asleep, she said with
a laugh.
You can be in front of thousands of people that you dont know
and youll be fine, but as soon as you know one person like your
mum or dad is out there you get butterflies.
Although the Brisbane-born artist isnt playing to her home
crowd, she expects to see a few familiar faces when she returns
to Canberras Australian Institute of Sport Arena after spending
two of her teenage years training at the institute.
I went to Canberra High and we had house parents and lots of
other kids there to play with, even though you were mostly
training, she says of her time in the capital.
It was freezing in winter, I was like what is this white
crunchy grass?
Although the Aussies credit Cirque with allowing them to see the
world, both admit there is a downside to the touring lifestyle.
Skinner says living out of two suitcases gets old fast, and
Wilson misses the home comforts and says its the little things
in life that make him happy, such as scoring accommodation with
his own washing machine and kitchen.
You get a bit of a tweak at times like Christmas, it would be
nice to be with your family but its not always practical, but
the good definitely outweighs the bad, Wilson says.
{ SOURCE: Canberra Times | http://goo.gl/KF582e }
---------------------------------------------------
SPECIAL ENGAGEMENT - More In-depth Articles
---------------------------------------------------
Cirque 2016 is Lúzia Inspired by México
{Nov.23.2015}
-------------------------------------------------------
Co-written by Daniele Finzi Pasca and Julie Hamelin Finzi
directed by Daniele Finzi Pasca
IN MONTRÉALS OLD PORT STARTING APRIL 21, 2016
AT TORONTO PORT LANDS AS OF JULY 28, 2016
Cirque du Soleil is thrilled to announce a new production for
next spring in Montreal: LUZIA, directed by Daniele Finzi Pasca.
Presented under the Big Top in Montréals Old Port starting
April 21, the show will then go to Toronto on July 28.
THE SHOW
--------
Where rain predicts the future and light reveals the truth.
The name LUZIA (loo-zee-ah) fuses the sound of luz (light in
Spanish) and lluvia (rain), two elements at the core of the
shows creation. LUZIA is a show inspired by the richness of the
Mexican culture.
CREATIVE TEAM
-------------
LUZIAs creative team comprises 16 creators under the artistic
guidance of Guy Laliberté (Guide) and Jean-François Bouchard
(Creative Guide):
o) Daniele Finzi Pasca -- Co-writer and director
o) Patricia Ruel -- Director of Creation
o) Julie Hamelin Finzi -- Co-writer
o) Eugenio Caballero -- Set and Props Designer
o) Giovanna Buzzi -- Costume Designer
o) Simon Carpentier -- Composer and Musical Director
o) Edesia Moreno Barata -- Acrobatic Choreographer
o) Debra Brown v Acrobatic Choreographer
o) Sylvia Gertrúdix González -- Acrobatic Choreographer
o) Max Humphries -- Puppet Designer
o) Martin Labrecque -- Lighting Designer
o) Johnny Ranger -- Projection Designer
o) Jacques Boucher -- Sound Designer
o) Philippe Aubertin -- Acrobatic Performance Designer
o) Danny Zen -- Acrobatic Equipment and Rigging Designer
o) Maryse Gosselin -- Makeup Designer
TEASER VIDEO: https://youtu.be/hHwZKR5cf90
SHOW IMAGE: http://www.cirquefascination.com/?p=6894
{ SOURCE: Cirque du Soleil }
The Real Moms of Cirque du Soleil
{Nov.24.2015}
-------------------------------------------------------
THE REAL MOMS OF CIRQUE DU SOLEIL
By: Mitchell Sunderland | Photos by: Amy Lombard
Many women star in the famous Las Vegas circus, and typically at
night. We met up with the circus moms and their kids to find out
how they handle the balancing act.
For over a decade, Canadian clown Shannan Calcutt has performed
topless in Cirque Du Soleils Zumanity. The sex-themed circus
(tag line: 18 +: Rated Cirque) plays nearly every night at the
New York, New York hotel in Las Vegas. Calcutt regularly
rehearses to remember cues and freshen up her scenes, but after
she gave birth to one of her children, her body interrupted her
performance. One night, Calcutt remembers, another performer
chased her down the hall: Shannan, you forgot your milk! she
screamed.
Calcutt had been breast pumping backstage for her baby and left
the bottle behind. This wasnt surprising to the clown or her
fellow Cirque star. Many women star in the circus, typically at
night, and their work lives often overlap with their raising
kids.
We got a baby boom here--every girl in my group and the
characters group started getting pregnant one after another,
says Kristina, a Cirque Du Soleil actress who received six
months of maternity leave. They redid my corset for me and
turned it into a baby doll dress so it could hide the bump. A
few girls have [continued performing at] seven or eight months,
but my character--since Im the rag doll--requires a lot of back
bending and splitting.
While most corporations allow mothers to take up to three months
of maternity leave, Cirque du Soleil also allows some women
varying amounts of unpaid leave before her baby is born
depending on her doctors recommendation. An aerialist left work
for an entire year, while a clown missed shows for only five
months. The approach to leave protects everyone involved, and
many mothers find it to be family friendly.
Cirque du Soleil and its Maternity Policy works with each
expectant mother to ensure their well-being and safety and the
safety of their coming child is the priority, the companys
human resources department said in a statement to Broadly. We
rely on the guidance of the artists doctor to dictate when she
needs to modify or end her unique duties at the show in order to
keep healthy.
Kristina finds the policy normal. Although she looks like your
average young mom-- she wears a black and white and grey
cardigan--she grew up in Cirque Du Soleil in the late 1990s. She
joined her acrobat father on Cirques international tour of the
Quidam show in 1996. For over a decade, she studied in the
tours school and lived out of six suitcases. She joined the
cast as a character actress at age 16.
I dont remember any other lifestyle, she says.
When she was 17 years old, Kristina started dating an acrobat in
his early 20s who performed with her father. Eventually they
married, and three years ago, they moved, with her parents, to
Las Vegas to perform in Zarkana at the Aria hotel. During the
show, Kristinas father carries her husband around the stage.
The guys do pyramids on top and toss each other in the air, and
my dad is the base and my husband is the flyer, Kristina
explains backstage. All of his friends laugh: You carry your
son-in-law in your hands!'
Kristinas 21-month-old daughter, Nika, will likely follow the
family tradition. On stage at the Arias theatre, Nika wears a
furry pink vest and sits on a wooden barrel, smiling under the
spotlight. As Nika kicks her feet through the air, her 21st
century light-up Sketchers sparkle. Our photographer takes out
her camera, and Nika immediately smiles and waves at her.
Later, backstage, Kristina places a yoga ball in front of Nika.
Do you want to go on [the] ball? Kristina asks. Nika jumps up,
and Kristina lays on the ground, rolling the ball over her. Nika
kicks her legs and laughs. Boing! Kristina yells. Boing!
Boing! In the background, we hear people screaming. Kristina
giggles. Its a clown workshop, she says.
Zarkana tells a loose story about an old theatre coming back to
life, and the set includes a rusted proscenium, trap doors, and
an old piano. Both behind the scenes and on stage, Cirque Du
Soleils performers embrace century-old European practices. In
the green room, Kristina says, the men ignore the PlayStation to
play dominos and Russian pool on a Russian pool table a cast
member bought.
Kristinas mother also works for Cirque as Zarkanas production
coordinator (she previously worked as Quidams accountant), so
Nika stays on the familys schedule. The baby wakes up at noon
and goes to sleep after midnight. For children this young, I
think our schedule is pretty awesome, Kristina says. She
understands this will change when Nika goes to school. Kristina
is currently waking up around six or seven in the morning to
attend college herself. Shes studying accounting, recognizing
that, in the circus, womens careers are shorter than mens.
Women are required to be more flexible, Christina explains.
Men need strength, and we need a balance between strength and
flexibility, which gets harder with age.
Other circus moms plan to keep performing. Aerialist Noara, for
instance, has performed in a hanging hoop in O for 13 years.
Every night, she wears a blue braided wig and soars across the
shows onstage pool. She only knows circus life. As a child in
Brazil, she watched her parents work as touring clowns while
raising a family. Performing and childrearing is in her DNA,
and, since she first moved to Las Vegas in 2002, she has come to
see the city as a place where its easier to balance circus
life and family. It helps that her husband works a nine to five,
meaning he can keep the baby at night, and that her mother-in-
law regularly assists.
In Vegas I feel like, when people want to settle down and have
their home to go to every day, [the circus is] a job, Noara
says. You go to work. Its not a nine to five. Its a job you
go to every day--its this routine that helps with your everyday,
especially if you have a family.
Noara doesnt look like a new mom, let alone a mom who gave
birth six months ago. When we meet, she looks more like action
hero Sarah Connor from Terminator than an acrobat, in black
jeans, boots and dark blue and white eye shadow. She says she
took a full year off the show: her entire pregnancy and then
four months after giving birth. The day she found out she was
pregnant she called Sandi Croft, the resident director who
maintains the shows quality.
We have your backup in place, Noara says Croft told her. Do
you want to stay home?
After hearing from Noaras doctor, the two agreed that shed
take the time off.
According to Croft, the womens time off depends on their role
in the show. Where an aerialists doctor may recommend they
immediately cease working, Calcutt, the clown I meet, says many
clowns can work more months while pregnant. Cirque leaves the
decision up to performers doctors. After they give birth,
mothers receive three months to get back to work. During this
period, the performers say, Cirque provides them with
conditioning programs, doctors, and physiologists to get back
into shape for the stage.
Its really [performers] responsibility, Croft says. They
are highly driven athletes, artists, so when they come back to
work they know that they are going to be in a costume that is
not very forgiving. So they need to come back in very good
shape.
Croft has seen this process numerous times. Before Cirque, she
worked as a dancer in Celine Dions Las Vegas residency and was
the artistic director of Cirques Mystère. She has helped many
women work out their maternity leaves, support that isnt so
common in most industries. Even she recognizes the insanity of
getting a six-pack three months after giving birth. Stamina
wise I am very impressed, she says.
I didnt know it was possible until I did it, Noara tells me.
We look at ourselves and go, How am I going to go from this
big to show? Its hard, but its also what our body knows, you
know? I eat very healthy. I am very conscious of what I eat. I
like to cook. I like to bring my food to work.
Although strength isnt as pivotal to clowns performance,
Calcutt says childbirth affected her in other ways. After I had
Ella, I was getting three to four hours of sleep at night and I
would go on stage. I was so tired, and I remember my clown
partner Nick would say, Thats a form of torture, sleep
deprivation,' Calcutt says. Its a juggling act--excuse the
circus pun, but it really is. The scheduling is the hardest
part.
Once they return to performing, some of the women rely on MGM
properties daycares, like Jenyne Butterfly, who plays Dirty
Diana in Michael Jackson ONE. All of the MGM resorts provide
childcare for employees who work at night, whether they perform
or work on the casino floor as cocktail waitresses. The company
may promote American vices, but in some ways, it also promotes
better maternity policies than many other employers. Cirque life
isnt perfect, but it provides mothers with some support, in a
country where the only woman running for the Republican
presidential nomination opposes government-mandated paid
maternity leave. When Calcutt cant find a babysitter, she says
she knows she can rely on the other women to watch her kids in a
pinch.
Youre really tight with the other artists, I think, because
were on the same schedules, Calcutt says. We cant all have a
dinner on Saturday evening because were working, or a barbeque
that starts at five oclock.
[Cirque] is a lifestyle, Noara adds. This is our life. Its
not hard. Its just a lifestyle, and were proud of it.
{ SOURCE: Broadly @ VICE | https://goo.gl/xreyns }
#SodaCirque is Coming!
{Nov.29.2015}
-------------------------------------------------------
Soda Stereo imagined by Cirque du Soleil is coming in 2017 and
the following video is a behind the scenes view of the
announcement as well as a meeting of some of the creative team
behind the show. As for a teaser, check out the following video
on Facebook, which features Soda Stereo music and images from KA
and La Nouba.
TEASER VIDEO: https://youtu.be/WYN91EQz-ho
What we know of the creative team so far is:
o) Michel Laprise -- Director
o) Chantal Tremblay -- Director of Creation
o) Dominique Lemieux -- Costume Designer
o) Heather Shaw -- Sceneographer
o) Hernan Nupieri -- Sound Designer
o) Mathieu Poirier -- Projection Designer
o) Germain Guillemot -- Acrobatic Performance Designer
o) Ewen Seagal Acrobatic Equipment Design
o) Charles Goron Creative Guide
o) Jean-François Bouchard Creative Guide
o) Diego Saenz CEO of Pop Art Music
o) Daniel Kon Soda Stereo Manager
The show, which is scheduled to premiere in Buenos Aires in 2017
before turning to Latin America, will follow the model of the
Cirque du Soleil productions inspired by the life and work of
music icons such as The Beatles and Michael Jackson Love The
Immortal World Tour and One. Producers have already confirmed
the show will tour with OCESA in Mexico and Colombia, Lotus
FiveMusic in Chile and Peru.
We are honored to be part of this great project because it
certainly represents another major step in the wonderful work of
our dear Charly, Zeta and Gustavo he said from Miami Afo Verde,
Chairman & CEO of Sony Music Latin Iberia .
See #SodaCirque on
Facebook: https://www.facebook.com/SodaCirque/
Website: http://www.sodacirque.com/
{ SOURCE: Cirque du Soleil }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, Koozå, Kurios, Luzia & Totem}
o) ARENA - In Stadium-like venues
{Quidam, Varekai, TORUK & OVO}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", La Nouba, Zumanity, KÀ, LOVE,
Believe, Zarkana, MJ ONE & JOYÀ}
NOTE:
.) While we make every effort to provide complete and accurate
touring dates and locations available, the information in
this section is subject to change without notice. As such,
the Fascination! Newsletter does not accept responsibility
for the accuracy of these listings.
For current, up-to-the-moment information on Cirque's whereabouts,
please visit Cirque's website: < http://www.cirquedusoleil.com/ >.
------------------------------------
BIGTOP - Under the Grand Chapiteau
------------------------------------
Amaluna:
Paris, FR -- Nov 5, 2015 to Jan 3, 2016
London, UK -- Jan 16, 2016 to Mar 6, 2016
Amsterdam, NL -- Mar 17, 2016 to May 1, 2016
Frankfurt, DE -- May 11, 2016 to Jun 12, 2016
Knokke-Heist, BE -- Jul 14, 2016 to TBA
Koozå:
Vancouver, BC -- Oct 29, 2015 to Dec 27, 2015
Montevido, UY -- Mar 9, 2016 to Mar 20, 2016
Buenos Aires, AR -- Apr 21, 2016 to May 8, 2016
Next Stop: Australia
Kurios:
Costa Mesa, CA -- Oct 15, 2015 to Nov 29, 2015
Los Angeles, CA -- Dec 10, 2015 to Feb 7, 2016
Atlanta, GA -- Mar 3, 2016 to May 8, 2016
Boston, MA -- May 26, 2016 to Jul 10, 2016
Washington, DC -- Jul 21, 2016 to Sep 18, 2016
New York City, NY -- Sep 30, 2016 to Nov 27, 2016
Luzia
Montreal, QC -- Apr 21, 2016 to Jul 10, 2016
Toronto, ON -- Jul 28, 2016 to TBA
San Francisco, CA -- Nov 17, 2016 to Jan 22, 2017
Totem:
Singapore, SG -- Oct 28, 2015 to Dec 13, 2015
Tokyo, JP -- Feb 03, 2016 to Apr 10, 2016
Osaka, JP - Jul 14, 2016 to Oct 2, 2016
Nagoya, JP - Nov 10, 2016 to TBA
Fukuoka, JP - Feb 2017 to TBA
Sendai, JP - Apr 2017 to TBA
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
Quidam:
Canberra, AU -- Dec 10, 2015 to Dec 20, 2015
Wollongong, AU -- Dec 23, 2015 to Jan 2, 2016
Hobart, AU -- Jan 6, 2016 to Jan 10, 2016
Newcastle, AU -- Jan 15, 2016 to Jan 24, 2016
Aucland, NZ -- Feb 5, 2016 to Feb 14, 2016
Christchurch, NZ -- Feb 17, 2016 to Feb 26, 2016
** FINAL SHOW: February 26, 2016 **
Varekai:
Munich, DE -- Dec 2, 2015 to Dec 6, 2015
A Coruña, ES -- Dec 22, 2015 to Dec 28, 2015
Barcelona, ES -- Jan 1, 2016 to Jan 10, 2016
Valencia, ES -- Jan 14, 2016 to Jan 17, 2016
Malaga, ES -- Jan 21, 2016 to Jan 24, 2016
Vitoria-Gasteiz, ES -- Jan 27, 2016 to Jan 31, 2016
Lyon, FR -- Feb 3, 2016 to Feb 7, 2016
Hamburg, DE -- Feb 10, 2016 to Feb 14, 2016
Luxembourg, LU -- Feb 17, 2016 to Feb 21, 2016
Hanover, DE -- Feb 24, 2016 to Feb 28, 2016
Antwerp, BE -- Mar 2, 2016 to Mar 6, 2016
Bordeaux, FR -- Mar 10, 2016 to Mar 13, 2016
Montpellier, FR -- Mar 17, 2016 to Mar 20, 2016
Nice, FR -- Mar 23, 2016 to Mar 27, 2016
Moscow, RU -- Apr 14, 2016 to Apr 24, 2016
St Petersburg, RU -- Apr 27, 2016 to May 8, 2016
Kazan, RU -- May 11, 2016 to May 15, 2016
Chelyabinsk, RU -- May 18, 2016 to May 22, 2016
Togliatti, RU -- May 25, 2016 to May 29, 2016
Sochi, RU -- Jun 2, 2016 to Jun 5, 2016
Nantes, FR -- Nov 16, 2016 to Nov 20, 2016
Toulouse, FR -- Nov 23, 2016 to Nov 27, 2016
Strasbourg, FR -- Nov 30, 2016 to Dec 4, 2016
Paris, FR -- Dec 6, 2016 to Dec 11, 2016
TORUK - The First Flight:
Allentown, PA -- Dec 4, 2015 to Dec 6, 2015
Worcester, MA -- Dec 11, 2015 to Dec 13, 2015
Montreal, QC -- Dec 21, 2015 to Jan 3, 2016
Toronto, ON -- Jan 7, 2016 to Jan 10, 2016
Quebec City, QC -- Jan 14, 2016 to Jan 17, 2016
Auburn Hills, MI -- Jan 22, 2016 to Jan 24, 2016
Houston, TX -- Feb 11, 2016 to Feb 14, 2016
North Little Rock, AR -- Feb 17, 2016 to Feb 21, 2016
North Charleston, SC -- Feb 26, 2016 to Feb 28, 2016
Sunrise, FL -- Mar 3, 2016 to Mar 6, 2016
Miami, FL -- Mar 10, 2016 to Mar 13, 2016
Tampa, FL -- Mar 17, 2016 to Mar 20, 2016
Tulsa, OK -- Mar 24, 2016 to Mar 27, 2016
Kansas City, MO -- Mar 30, 2016 to Apr 3, 2016
Oklahoma City, OK -- Apr 6, 2016 to Apr 10, 2016
Louisville, KY -- Apr 28, 2016 to May 1, 2016
Cincinnati, OH -- May 4, 2016 to May 8, 2016
Columbus, OH -- May 11, 2016 to May 15, 2016
Hamilton, ON -- May 20, 2016 to May 22, 2016
London, ON -- May 27, 2016 to May 29, 2016
Providence, RI -- Jun 3, 2016 to Jun 5, 2016
Duluth, GA -- Jun 15, 2016 to Jun 19, 2016
Raleigh, NC -- Jun 22, 2016 to Jun 26, 2016
Ottawa, ON -- Jun 30, 2016 to Jul 3, 2016
Denver, CO -- Jul 21, 2016 to Jul 24, 2016
Lincoln, NE -- Jul 27, 2016 to Jul 31, 2016
Chicago, IL -- Aug 3, 2016 to Aug 7, 2016
Brooklyn, NY -- Sep 7, 2016 to Sep 11, 2016
Newark, NJ -- Sep 14, 2016 to Sep 18, 2016
OVO:
Lake Charles, LA -- Apr 8, 2016 to Apr 10, 2016
Baton Rouge, LA -- Apr 14, 2016 to Apr 17, 2016
Greensboro, NC -- Apr 20, 2016 to Apr 24, 2016
Cleveland, OH -- Apr 27, 2016 to May 1, 2016
Syracuse, NY -- May 4, 2016 to May 6, 2016
Bangor, ME -- Jun 2, 2016 to Jun 5, 2016
Bridgeport, CT -- Jun 8, 2016 to Jun 12, 2016
Hartfort, CT -- Jun 15, 2016 to Jun 19, 2016
Charlotte, NC -- Jul 6, 2016 to Jul 10, 2016
Cleveland, OH -- TBA
Philadelphia, PA -- TBA
Portland, ME -- TBA
---------------------------------
RESIDENT - en Le Théâtre
---------------------------------
Mystère:
Location: Treasure Island, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark: Thursday/Friday
Two shows Nightly - 7:00pm & 9:30pm
2016 Dark Dates:
o January 2 13, 2016
o February 7, 2016
o March 16, 2016
o May 7 11, 2016
o July 6, 2016
o September 10 14, 2016
o November 9, 2016
Special / Limited Performances:
o December 31, 2015 (only 7 pm performance)
o March 12, 2016 (7pm Proceeds Donated to One Drop)
o June 18, 2016 (Only 7pm performance)
o June 19, 2016 (Only 7pm performance)
o December 29, 2016 (Two Shows)
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 10:00pm
2015 Dark Dates:
oNovember 30 - December 15
Added performances in 2015:
o December 29
La Nouba:
Location: Walt Disney World, Orlando (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two shows Nightly - 6:00pm and 9:00pm
2015 Dark Dates:
o December 7 - 9
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
(Only 7:00pm on the following days in 2015: January 20,
May 8, May 15, May 19, May 20, and December 31)
2015 Dark Dates:
o December 6 - 14
Added performance in 2015:
o December 27
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark Thursday/Friday
Two Shows Nightly - 7:00pm and 9:30pm
(Only 7 pm performances on May 9, 16 and June 21)
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Thursday through Monday, Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
(Only 7:00p.m. performances on May 15-16, June 19-21, December 31)
(Only 4:30p.m. & 7:00p.m. performances on July 4)
2015 Dark Dates:
o December 1 16
Added performances in 2014:
o December 30
CRISS ANGEL BELIEVE:
Location: Luxor, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two Shows Nightly - 7:00pm and 9:30pm
2015 Show Schedule:
o Wednesday: 7:00pm & 9:30pm (only 7:00pm on January 7,
February 4 - 25, September 30)
o Thursday: 7:00pm & 9:30pm (only 7:00pm on January 8-29,
December 31)
o Friday: 7:00pm & 9:30pm (only 7:00pm on January 930,
February 6, February 20 27, March 6 13,
May 1 22, June 5, June 19, September 1125,
October 29, October 2330, December 4 11,
December 25)
o Saturday: 7:00pm & 9:30pm (only 7:00pm on May 216,
June 20, July 4, October 31)
o Sunday: 7:00pm & 9:30pm (only 7:00pm on February 822,
March 115, April 26, May 24, June 7, June 21,
September 1327, October 425, November 18,
November 2229, December 613)
2015 Dark Dates:
o December 14 22
Added Performances in 2015:
o December 29
ZARKANA:
Location: Aria, Las Vegas (USA)
Performs: Friday through Tuesday, Dark: Wednesday/Thursday
Two Shows Nightly - 7:00pm and 9:30pm
Added Performances in 2015:
o December 28
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Two Shows Nightly - Dark: Wednesday/Thursday
Schedule: 7:00pm & 9:30pm on Friday, Saturday, Monday & Tuesday
4:30pm & 7:00pm on Sunday
2015 Dark Dates:
o December 15
Added performances in 2015:
o November 25
o December 30
JOYÀ:
Location: Riviera Maya, Mexico
Performs: Tuesday through Saturday, Dark: Sunday/Monday
One/Two Shows Nightly:
9:00pm (Weekdays)
7:00pm & 10:15pm (Fri, Sat & Holidays)
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) Club Cirque -- This Month at CirqueClub
o) DidYaKnow? -- Facts About Cirque
o) Networking -- Posts on Facebook, G+, & YouTube
---------------------------------------------------
CLUB CIRQUE: This Month at CirqueClub
---------------------------------------------------
Meeting TORUK Costume Designer Kym Barrett
{Nov.04.2015}
-------------------------------------------------------
Turquoise shimmers, glorious attires and greenery-inspired
garments
TORUK The First Flights costume workshop is a mix
of colors and fabrics from which costume designers, artisans,
and assistant designers get to create the artists second skins.
Lets follow TORUK The First Flight costume and makeup
designer Kym Barrett inside her workshop, where every decision
is always a calculated one.
Inside the TORUK The First Flight costume workshop, dozens of
skilled hands are busy drawing, dyeing, cutting and fitting all
sorts of cloths. Amongst them are Kym Barretts, who is
responsible for designing every single costume.
Originally from Australia, she became famous after dressing
Leonardo DiCaprio in the movie Romeo + Juliet and creating the
mythical style of The Matrix trilogy characters. She had already
worked on Cirque du Soleils TOTEM, but this new show TORUK
The First Flight presents unique challenges : for one, the story
is being told mostly by one of the main characters, the
Narrator, played by Raymond ONeill.
This means that the costumes must also tell a part of the
story, says Barrett. Pandoras inhabitants, the Navi, are
divided into five clans Kekunan, Omaticaya, Anurai, Timpani,
Tawkami each with its own colors and attributes. Some wear
elaborate headdresses while others are adorned with organic
accessories. And each character has its own look.
Just like in real life, each has its own personality and
style.
Picture: one for each clan with a description saying that this
is an example for a member of that clan You also need to strike
the perfect balance between comfort for the artist who wears the
costume, and authenticity for the audience.
Were trying to create Pandoran fibers which, of course, dont
exist in our world, observes Barrett.
Whats more, the costumes need to look like they were handmade
by the Navi. We use certain materials that imitate objects
that would normally be found in nature, she adds. For example,
crinoline is used to give the illusion of a loin cloth made of
leaves.
The main challenge with TORUK The First Flight lies in
transforming a stadium into a whole other universe while giving
a 180 degree panoramic view to the audience, explains Barrett.
In spite of the sheer size of the set, the audience should feel
immersed in Pandoras landscape, even when the action takes
place a bit further away.
All characters and actions need to be clearly visible from all
angles, and the technical intricacies of the costumes should
remain invisible to the audience. Thats why the costumes need
to show just enough details so as to look handmade when seen
close-up, and still have that organic, shimmery, intriguing feel
from afar, explains the costume designer.
The flamboyant fabrics, elaborate cloths and detailed
accessories should satisfy even the biggest fans of James
Camerons Avatar. These costumes will add a lot of color and
vitality to TORUK The First Flight, and will largely
contribute to making the audience feel like they are traveling
to faraway lands, planets and universes.
{ SOURCE: Cirque du Soleil | https://goo.gl/PZcSIi }
Cirque du Soleil Webseries
------------------------------------------------------
*) KURIOS ABOUT...
Two new episodes of the Kurios About... webseries were posted
this month. Follow the cast and crew of KURIOS on tour, and find
out what hides in their Cabinet of Curiosities. From the Big Top
to Costumes, Make-up, Food and much more, the 12 episodes KURIOS
About The Webseries gives fans a behind-the-scenes peek at the
Cirque du Soleils 35th creation. Explore our universe and
reality from the eyes of an insider, see the artists and the
staff work with devotion to make the show happen day after day
and discover how unique our on tour lifestyle is.
o) EPISODE 4: THE GEARS
November 3, 2015
KURIOS About The Gears will make you discover more about the
different technical aspects of our very unique kind of LIVE
entertainment. See how everything takes form behind the
scenes and around our stage: Who does what and how the magic
happens show after show.
LINK /// < https://youtu.be/udi8fWVtTKo >
o) EPISODE 5: THE ACRONET
November 17, 2015
In this 5th episode of KURIOS About find out what it is like
to fly 40 feet high over the stage on this new bouncing
technology called the Acronet.
LINK /// < https://youtu.be/iPwkhg5Y9kg >
Check out the other episodes here:
http://www.cirquefascination.com/?page_id=6868
*) ZUMANITY: RATED CIRQUE
Zumanity [züman-eh-tee] is described as an intense visit to a
world where human inhibitions are both unveiled and discarded,
where style and intense sensual passion share an uncommon
stage. Cirque recently offered this definition of the word: n.
n. Neologism dating from 2003, contraction of the words zoo
and humanity. 1. A human zoo. 2. A new form of eroticism which
blends dance movement, acrobatics and beautiful bodies with the
sensual caress of the human voice and the pulse of exotic
rhythms. 3. An exploration that awakens the most primal urges in
human beings. Cirque du Soleil explore the human zoo in a brand
new web series!
o) EPISODE 1: YANIS MARSHALL THE CHOREOGRAPHER
November 13, 2015
Assembled by YouTube sensation Yanis Marshall, the 9 dancers
are all incredibly different and bring completely unique
aspects to the Professional choreographer and YouTube
sensation Yanis Marshall talks about incorporating his
signature dance concept Men in Heels into the story and
production of Zumanity by Cirque du Soleil. The magic pairing
all began with a video of Yanis shared by Beyonce and
discovered by the Cirque team, and resulted in a phenomenal
revamp for Zumanity.
LINK /// <https://youtu.be/GCSXFrLLRTg >
o) EPISODE 2: NO LIMIT ZONE
November 19, 2015
The one thing that unites them is phenomenal talent.
Reflecting the uniqueness of its cast, Zumanity is a no
limits type of show that takes you on a journey like no
other.
LINK /// < https://youtu.be/1TgGs2WBmPE >
o) EPISODE 3: EXTRAVAGANZA!
November 25, 2015
Yanis Marshall reveals the inspiration behind the brand new
act he added to Zumanity, Perfect Jam, and the revamp of the
final act, Extravaganza. Go behind the scenes of the
rehearsals with him and his dancers as they build one of the
only pure dance acts in Cirque du Soleil history. As
described by one of the dancers, Perfect Jam is very
powerful, raw, rough rock; and you dont want to miss that!
LINK /// < https://youtu.be/evoroAdmV64 >
---------------------------------------
DIDYAKNOW?: Facts About Cirque
---------------------------------------
o) Did you know: There are over 12,000 sq. ft. of 3/16 plate steel
supporting the show deck in Criss Angel Believe?
o) Did you know: In KA, the Spearmen's shoes are created to look like
they arent wearing shoes, with molded rubber toes affixed to a shoe
base.
o) Did you know: During load-in, Varekai's crew will set up 330 trees
from the enchanted forest.
---------------------------------------------------
NETWORKING: Cirque on Facebook, YouTube & Twitter
---------------------------------------------------
{Compiled by Keith Johnson}
---[ AMALUNA ]---
{Nov.10}
Watch our Amaluna special sneak peek performance at the Royal
Albert Hall celebrating 20 years at the venue in London!
Opening January 16th!
VIDEO /// < https://goo.gl/Iv4wC4 >
{Nov.12}
Amaluna offered a brilliant performance at the AirBnB open
2015. Here are some pictures of the event. A big thank you
to our friends at AirBnB for inviting us!
FOTO /// < https://goo.gl/WDCLQm >
FOTO /// < https://goo.gl/kaXDFF >
{Nov.20}
Bonjour Paris! After a little break from a few days, the
artists and technicians of Amaluna are ready to welcome you
again. All the shows planned from today are maintained.
FOTO /// < https://goo.gl/60O7jv >
---[ CORTEO ]---
{Nov.03}
Come and meet the big show which is Corteo!
FOTO /// < https://goo.gl/bXQn6F >
{Nov.12}
This is how Corteo gets in to the spring of things!
Video produced in partnership with Activeon Action Cameras
VIDEO /// < https://goo.gl/0d50iN >
{Nov.13}
We are here in Quito!
FOTO /// < https://goo.gl/39fqg4 >
{Nov.19}
The entire cast ready! To enjoy together our last premier!
FOTO /// < https://goo.gl/IfBtgb >
{Nov.24}
Paradise training!
VIDEO /// < https://goo.gl/YtcITg >
{Nov.25}
Teeterboard!
VIDEO /// < https://goo.gl/Llnrzk >
{Nov.29}
From the top of the Corteo Big Top.
VIDEO /// < https://goo.gl/Se2S3G >
---[ JOYÀ ]---
{Nov.21}
438 new photos to the album: NUESTRA GRAN NOCHE DE
CELEBRACIÓN "1er ANIVERSARIO JOYÁ".
FOTO /// < https://goo.gl/mIisRd >
---[ KOOZA ]---
{Nov.02}
One of our very own singers delivered two powerful anthems
at the Vancouver Canucks game tonight!
FOTO /// < https://goo.gl/ntIORX >
{Nov.04}
We were so excited to perform at a very special holiday
event at Holt Renfrew tonight!
FOTO /// < https://goo.gl/zKvVVi >
{Nov.26}
Thank you for kicking off the holidays with us! The
celebration continues, with performances through Dec. 27.
FOTO /// < https://goo.gl/uj6Twr >
{Nov.27}
Did you miss our Holiday Spectacular? Not to worry, there's
plenty more magic for you to see under our Big Top! Check
out the video to see what the event was all about!
VIDEO /// < https://goo.gl/WRGIpx >
---[ KURIOS ]---
{Nov.06}
Early morning for some of our artists today! KTLA 5 Morning
News was on-site to give you a glimpse of our show and the
behind the scenes! Did you see us performing LIVE this
morning?
FOTO /// < https://goo.gl/rhcTSo >
{Nov.20}
Did you see usthis morning on CBS Los Angeles morning news?
FOTO /// < https://goo.gl/lQQx6g >
{Nov.29}
Time to pack it up and move up the road to Los Angeles!
FOTO /// < https://goo.gl/gtfDSI >
---[ LUZIA ]---
{Nov.23}
Where rain predicts the future and light reveals the truth.
Discover LUZIA! Premiering April 21st at the Old Port of
Montreal under the Big Top.
VIDEO /// < https://goo.gl/JxE1zZ >
{Nov.30}
The inspirations for LUZIA? The experiences that brighten
our heart & spirit and set in motion the mysterious forces
of attraction that bind us to a place and its inhabitants.
FOTO /// < https://goo.gl/xDRrgg >
---[ MJ ONE ]---
{Nov.27}
Allmusic.com reviewed Michaels performance of Ill Be
There saying Rarely, if ever, had one so young sung
with so much authority and grace, investing this achingly
tender ballad with wisdom and understanding far beyond
his years.
---[ PARAMOUR ]---
{Nov.08}
PARAMOUR spins a glamorous story let it pull you in
VIDEO /// < https://goo.gl/7dR01C >
{Nov.16}
Leading lady, Ruby Lewis, and breath-taking Cirque du
Soleil artists will perform the world premiere of the
song "Paramour" from our upcoming Broadway production
on the Macy's Thanksgiving Day Parade!
LINK /// < http://goo.gl/ws0CU2 >
{Nov.17}
Love at first listen! Ruby Lewis, the "Leading Lady" in
PARAMOUR, sings the title song in this behind-the-scenes
recording session.
VIDEO /// < https://goo.gl/Ew89D0 >
{Nov.25}
Our PARAMOUR team is hard at work rehearsing for the
parade tomorrow! Beginning at 9am Thursday, see our
Macy's Thanksgiving Day float throughout the parade
and hear Ruby Lewis debut the title song from the show.
FOTO /// < https://goo.gl/hYJIIY >
---[ QUIDAM ]---
{Nov.05}
Circus people are not known to wake up early unless it's
for a very special reason... Witness our Backstage Cirque
Cirque du Monde workshop in Seoul.
VIDEO /// < https://goo.gl/GU1pSp >
{Nov.10}
The Quidam red curtain fell one final time under the Grand
Chapiteau in Seoul. An emotional goodbye before we pack it
all up and move back to Arenas down under.
FOTO /// < https://goo.gl/WXTztH >
{Nov.10}
Hop skip and a jump with Richard Wilkins on the Today
Show in Sydney.
VIDEO /// < http://bit.ly/1PBG1BS >
{Nov.12}
More interviews Down Under and a street performance in The
Gong today hope to see you at lunch time at the Crown Street
Mall Wollongong, but for now, a quick break staring at the
sea...
FOTO /// < https://goo.gl/8xwPuD >
{Nov.15}
Ready for our close-up.
FOTO /// < https://goo.gl/diLAv2 >
---[ THE BEATLES LOVE ]---
{Nov.09}
We're so excited to be on Dancing with the Stars! Here's
a sneak peek of what's to come!
FOTO /// < https://goo.gl/nfICM5 >
---[ TORUK ]---
{Nov.03}
Cirque Selfie time at TORUK with our Storyteller!
VIDEO /// < https://goo.gl/3LCPJ5 >
{Nov.04}
Roller coaster of emotions for our opening next week.
VIDEO /// < https://goo.gl/nYgR54 >
{Nov.05}
Cirque Selfie time behind-the-scenes at TORUK!
VIDEO /// < https://goo.gl/aF0N0x >
{Nov.06}
It's finally Friday, time to bust a move and kick off
the weekend. What are your plans for the weekend?
VIDEO /// < https://goo.gl/B9dQtT >
{Nov.07}
HuffPost Entertainment has a sneak peek at TORUK, click
through for some great pics from the show!
LINK /// < http://goo.gl/BkZt5w >
{Nov.09}
The first TORUK dress rehearsal was last night and among
the audience were a few very special guests... including
Cirque du Soleil Co-Founder Guy Laliberté and Avatar Director
James Cameron.
FOTO /// < https://goo.gl/1okfw0 >
FOTO /// < https://goo.gl/v4gTdj >
{Nov.11}
Entertainment Weekly explores what's to come in TORUK, just
in time for the soft opening tomorrow night!
LINK /// < http://goo.gl/U5S1Kk >
{Nov.11}
Striking the pose before our soft opening tomorrow in
Bossier City Will we see you there?
VIDEO /// < https://goo.gl/YvVqSQ >
{Nov.12}
Less than thirty minutes away from the Soft Opening of
TORUK! Can you feel the excitement?
FOTO /// < https://goo.gl/fHFaLZ >
{Nov.12}
Thank you Bossier City for an incredible first Show!
FOTO /// < https://goo.gl/yGUEYR >
{Nov.13}
The calm after the storm.
FOTO /// < https://goo.gl/s6lGi1 >
{Nov.17}
What do you think our best profile is?
VIDEO /// < https://goo.gl/lcQA17 >
{Nov.17}
The first TORUK load-in is officially underway in Lafayette!
FOTO /// < https://goo.gl/pNTwlV >
{Nov.19}
Throwback to our testing sessions. Can a shield also
be used as a mask?
FOTO /// < https://goo.gl/HSB5J2 >
{Nov.20}
We're in a colorful state of mind. Are you?
FOTO /// < https://goo.gl/hvM9IV >
{Nov.21}
Lafayette?'s The Daily Advertiser captured some great
behind the scenes photos of TORUK. Check them out!
LINK /// < http://goo.gl/wsxBrI >
{Nov.23}
Experience the hypnotizing beauty of TORUK.
What is her gaze telling you?
FOTO /// < https://goo.gl/HPwL7u >
{Nov.29}
Thank you Richmond for a great weekend! Allentown is up
next... get ready with a behind the scenes look!
LINK /// < http://goo.gl/j8PYoS >
{Nov.30}
Can you guess what this gesture means? (Answer: I See You)
FOTO /// < https://goo.gl/89Vn91 >
---[ TOTEM ]---
{Nov.12}
Valentino is exploring Singapore on a trishaw today and
will surprise lucky ladies with tickets to come see him
perform! Chinatown, watch out he's on his way!
FOTO /// < https://goo.gl/Vum0SL >
FOTO /// < https://goo.gl/ayN6gM >
{Nov.18}
Backstage fun! Alya, Rings Trio, and Ulzii, Contortion,
trying new tricks during intermission! Kudos to our
Cosmonauts for the photobomb.
FOTO /// < https://goo.gl/LUBKwO >
{Nov.18}
In the past few months, we modified the Toreador scene to
incoporate a spectacular Diabolo performance by our Tracker,
Sebastien Nicaise.
FOTO /// < https://goo.gl/yMvRZi >
---[ VAREKAI ]---
{Nov.16}
Good morning Luxembourg! We are getting ready for a
sneak peek of Varekai.
FOTO /// < https://goo.gl/NucLar >
FOTO /// < https://goo.gl/WiFTVB >
FOTO /// < https://goo.gl/fQTqsb >
{Nov.16}
After a fun media tour in Luxembourg, we say "see you
later" Hello Cologne, are you ready for us?
FOTO /// < https://goo.gl/Asaf0M >
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) LOOK BACK: Guy Laliberte's Poetic Social Mission
PART 4 of 8: "From Training to Reality"
By: Ricky Russo - Atlanta, Georgia (USA)
o) SPECIAL: "The Canadian Panorama: The 2015 Pan
Am Games" By: Alan Hardiman, published in
Lighting & Sound America October 2015 Issue
o) INTERVIEW /// "Gabriel Christo - Teeterboard, Corteo"
By: The Chapiteau, a Cirque du Soleil Fan Club
------------------------------------------------------------
LOOK BACK: Guy Laliberte's Poetic Social Mission
PART 3 of 8: "Getting My Hands Dirty"
By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
Six years ago, on September 30, 2009, a civilian became a spaceflight
participant aboard Soyuz TMA-16, a manned flight from the Baikonur
Cosmodrome in Kazakhstan to and from the International Space Station
(ISS). Joining two members of the Expedition 21 crew - Russian
cosmonaut Maksim Surayev (Commander, from the Russian Federal Space
Agency, FSA) and NASA Astronaut Jeffery Williams (Flight Engineer)
was Guy Laliberté, who paid approximately $35 million USD for his seat
through the American firm Space Adventures, becoming the first
Canadian space tourist in the process. Besides fulfilling a life-long
dream, Lalibertés spaceflight was dedicated to raising awareness on
water issues facing humankind on planet Earth, making his spaceflight
the first in his words poetic social mission in space. And much
of this experience was captured on film and recently spun into a
feature-length documentary entitled TOUCH THE SKY. While the
documentary is a compelling visual look into the experience, the
adventure was also captured by Laliberté himself in the form of an
online journal.
At the time these events were originally taking place, we here at
Fascination were more concerned with the happenings here on Earth
with BELIEVE, ZAIA, ZED, OVO, VIVA ELVIS, and BANANA SHPEEL so we
didnt give much thought to this endeavor. However, thanks to the
recently discovered documentary (the aforementioned TOUCH THE SKY), we
recently re-discovered a text-copy of this journal in our archives,
which allows us to explore this extraordinary time in Cirque du
Soleils history in more detail. Thus in this series well be taking a
look back at Guys Poetic Social Mission through his eyes, from the
journal, in monthly installments, taking you through the initial steps
Guy undertook all the way through to the launch and landing. In Part 1,
"The Countdown Begins" we listened as Guy took us through his first
steps. In Part 2, "Training Kicks Up a Notch", Guy got settled in, and
passed a few essential tests. In Part 3, "Getting My Hands Dirty", Guy
gets down into the nuts and bolts of his training, and now we continue
with him getting a bit more hands on with the actual equipment he'll
be flying in, covering the month of August 2009.
* * *
POST 36 | DAY 126 - August 01, 2009
GOING FROM THEORY TO REALITY
After my week in Houston and the one I just spent in Star City, I
really feel like Ive entered the transition phase, going from theory
to reality. To prepare myself well for this adventure and help me
adapt psychologically and physiologically to life in space, Ive been
meeting with psychologists and doctors.
I also now know more about what everyone seemed so eager to find out
about: how the water supply system and the toilets work! Next week, I
should be applying what I learned!
As for the poem, its almost finished and Im quite pleased with it.
We had productive work sessions and everyone in the team finds the
result inspiring. I cant wait to tell you all about it, which should
be during our next press conference in a few weeks.
Time is whizzing by, and the launch date is fast approaching. Im busy
from morning to night, since each time I finish one project, another
one pops up, so the to-do pile never seems to go down! The good
thing about all this activity is that Im never bored! The bad thing
is that Im not getting enough sleep, at least, not as much as Id
like. :(
* * *
POST 37 | DAY 128 - August 03, 2009
LULL BEFORE THE STORM
And so, to recap, I left for Ibiza on Friday evening without my film
crew. (Yes, I fled from my entourage!) I saw friends, my two youngest
kids and my love. It was our last chance for a romantic weekend before
the launch. It was just the little family and I, no nanny. We went
sailing and swimming, played backgammon, watched a few movies with the
kids. Actually, both parents dozed off during one of the films. It
makes you wonder just who was babysitting who!
* * *
POST 38 | DAY 130 August 05, 2009
WATER ON THE INTERNATIONAL SPACE STATION
A big week of work awaited us on our return to Star City. I took a
deep breath and plunged, ready to inject the required dose of humour
in our next 2 days of training, part 2 of last weeks training.
Tuesday morning, we went to Energia, a company involved in various
projects. For example, Energia is responsible for approving the
payload material and developing the Russian modules at the ISS. The
purpose of our visit was to go over the equipment that well be taking
along with us into space.
My time on the rotating chair hasnt improved :( But I have to say
that I had woken up early that morning and hadnt eaten - obviously
not a brilliant idea!
When I arrived at the airport late Tuesday afternoon for my departure
to Montreal, a little blond-haired stray dog gave me a generous dose
of affection by laying down on my feet. My heart melted right then and
there, and I had to adopt him on the spot! My plan is to take him
along with me during my next stay in Ibiza, so off he went with my
driver to Star City to be examined and cared for. Claudia and I had
been talking lately about adopting another dog, but I guess he found
us instead! I have a feeling though that hes on his way to becoming a
Canadian, and not a Spanish, Hound --my dog Jack will be so pleased! My
three oldest kids and I looked for a name and our choice was
unanimous: SOYUZ!
* * *
POST 39 | DAY 131 - August 06, 2009
A BUSY DAY
It felt very odd to be alone at home in Montreal. It was just too
quiet
I got up early on Wednesday morning to do my workout, followed by a
soothing and VERY enjoyable massage. I was now ready to take on the
next 5 hectic days!
Lets start with the first meeting: the presentation of the vaudeville
show in Chicago. The name is now official, but we wont tell you yet!
The clown acts made me laugh and I was impressed with the dancers. I
think this production shows great promise. Its very timely, too: I
find we all need to laugh and unwind a bit more today, and Im sure
itll do the trick!
I then joined my CityCenter and CKX partners as well as Priscilla
Presley for an artistic performance (music, execution, costumes, etc.)
in order to see the Elvis show as a whole in Montreal before it leaves
for Las Vegas.
The whole team is thrilled about this project that immerses us in the
world of a performer who was one of the best, if not THE best! Im
very satisfied with the result: these are high-calibre artists and
theres no doubt in my mind that the production will be outstanding.
I was also very pleased to see the level of commitment of the artists,
the creative and production teams, etc. This is teamwork at its
finest. The day ended with a cocktail at Le Latini, a great Italian
restaurant in downtown Montreal, where I popped in after sorting out
some paperwork. I left early for home--and a nice big well-deserved
sleep!
* * *
POST 40 | DAY 133 - August 08, 2009
TRIP TO MEMORY LAND
I started work with my osteopath to correct some of the consequences
of my training and ease some bones back into place! They no longer
cracked when I arrived at the meeting with my space project gang! ;-)
I was happy to see they were still as hard-working, as committed and
as motivated as ever.
My day in Montreal ended with a good 3 hours in the dentists chair to
replace a tooth that broke during one of my (intense!) training
sessions, have a filling done and get my teeth cleaned. My dazzling
smile is now ready to compete with the stars when Ill be up there in
space!
I then hopped on a plane for Québec City (my native town) with my 3
eldest kids to see OVO, where my parents and all my relatives (aunts,
uncles, cousins) had gathered. An almost perfect family portrait--only
my love, my brother Jean and my 2 youngest were missing!
The timing was perfect, since I was able to see my whole family before
my departure. A family who watched me grow, took care of me and showed
me the importance of strong family bonds. A festive and tightly knit
family. I was very moved to see them all and spent a wonderful evening
with them.
I spent the night at Château Frontenac in Old Québec with my 3 eldest
who just couldnt keep still! A very precious moment given this was my
last weekend with them before my departure.
The next day, we visited the houses in which my parents had lived as
kids (Limoilou and St-Sauveur). It felt odd to see the alleyways where
I had played and to return for a short moment to my childhood days.
The little boy in me was very touched to come face to face with
himself
and that little boy is still alive and kicking!
We stopped in a boutique, Gagné & Frères, that is still in business
after 100 years, and where my grandfather, my father and I bought our
accordions. In the window, I saw an accordion that was made to
celebrate the 100th anniversary of the store. I just couldnt resist:
I bought it!
And while we were there, my father and I played a bit of music in the
store. My kids had a good time watching and listening to us! It was a
beautiful moment, filled with memories.
I then went for a nice long walk in the streets of Old Québec with the
kids and showed them the apartment in which I had lived. Sharing all
these moments with them was so much fun.
After a family dinner at Charbon Steakhouse, we went off to see Les
Chemins invisibles, a free urban street show that takes place in the
Saint-Roch district of Québec City. There was quite a crowd and it was
great to see all these spectators marvel at the stunts of the shows
emerging artists. After an emotion-filled day, we were pretty tired,
but this didnt keep us from truly enjoying the show.
* * *
POST 41 | DAY 134 - August 09, 2009
TOGETHER WE CAN DO IT
The next day, I left for Baie-Saint-Paul to participate in LÉveil du
géant, an event organized by the city and my ex-partner Daniel
Gauthier and his spouse, my friend Hélène Dufresne. Baie-Saint-Paul is
where it all started for Cirque du Soleil, so the purpose of this
event was to highlight the contribution of the creators and artists of
the Échassiers de la Baie and the Fête foraine, i.e., the origins of
Cirque. What deserves to be mentioned here is that, even though the
shows we put on in those first years were not considered very
conventional, Baie-Saint-Paul welcomed us with open arms. And thats
something Ill never forget.
On my way there, I stopped at the Balcon Vert youth hostel with my
kids and my friend Gilles Ste-Croix. I was amazed and thrilled to
discover that some of the staff was still there after 30 years! The
Balcon Vert is where I met some of the most significant people in my
life, such as Gilles, so I absolutely had to include it in my weekend
pilgrimage.
* * *
POST 42 | DAY 135 - August 10, 2009
IMAGES AND MEMORIES FILL MY HEAD
I promised these boys (Marc Duchesne and Martin Dufour) that I would
mention them in my blog. They were part of a little group of musicians
who played during the unveiling of LÉquilibre précaire by artist
Danielle April at the Parc du Citoyen in Baie-Saint-Paul.
After the sculpture LÉquilibre précaire by artist Danielle April was
unveiled at the Parc du Citoyen, we headed towards the big top to meet
old colleagues. It was filled with the sounds of long-lost friends
greeting each other. Francine Léonard (aka Dolores) and Serge Roy were
very funny as MCs, and the artists who performed that night dazzled us
and warmed our hearts.
It was an unforgettable evening. I saw people I had lost touch with so
many years ago. My heart was filled with all sorts of emotions and I
headed back to my room with a smile on my lips and images and memories
dancing in my head.
* * *
POST 43 | DAY 136 - August 11, 2009
HAPPY TO BE LIVING THESE MOMENTS
On Sunday morning, I treated myself to a very relaxing massage and
said goodbye to my parents and friends before leaving for Moscow. A
pretty difficult moment. I still had a lump in my throat sitting on
the plane.
Im very thankful for all these amazing moments Ive just lived, but I
now feel a growing need to stay still for a little while. The upcoming
weekend is the last one I have left to unwind a bit and then, Ill
have to remain in Russia. Time is going by so fast!
* * *
POST 44 | DAY 137 August 12, 2009
FROM CLOUDS TO SPACE
I returned from Québec City on Monday feeling quite tired. Of course,
the long flight didnt help much. I havent been able to sleep a whole
lot and cant find the time to get my feet back on the ground (my head
is still in the clouds?or in space!). The week ahead is an important
one though, with other medical tests.
We also continued to study the communications systems and conduct
simulations. I was all happy to see that there was no vestibular
training planned for me this week, but at noon on Monday, I learned
with dismay that I did have one to do. ? The good news though is that
I managed to beat my record by 5 minutes! I then did a few laps in the
pool to recharge my batteries. Lets just say the ice-cold water gave
me the boost I needed!
Later on, I went back to my room to clean up my e-mails and put my
paperwork in order but quickly tired of this, so I decided instead to
watch the 24 series, to which I have always been addicted. In my case,
the 24 hours lasted 24 minutes that day: by then, I had already
dozed off and was sleeping like a log!
* * *
POST 45 | DAY 139 - August 13, 2009
SPACE TOILET
I underwent some more medical tests: some new ones and others that
were similar to those I had already passed.
We also continued learning more about the life support system,
including a demonstration on how to use the toilet aboard the ISS and
a fine sampling of food for astronauts! Needless to say, we had a good
laugh!
Later on, during one of the meetings I had in the evening, we came to
an agreement on which cameras Ill be using.
The next morning was also busy with medical testing. My crew was
there, too, and none of us escaped a mighty thorough inspection! Eyes,
teeth, blood sampling, blood pressure
here we go again! On a positive
note, I found the atmosphere much more relaxed than the first times.
Late afternoon, my doctor informed me that for next weeks visit of
the GMK (Russias Main Medical Commission), Ill need to do 10 minutes
of vestibular training. WAIL!!! So were back to testing drugs once
more. They injected a very strong sedative in my backside and 2
minutes later, I was using the walls to keep me upright as I staggered
to a chair in the hall. I took a 45-minute break sitting still in that
chair, absolutely unable to head for my workout.
And guess what? It worked! Thanks to a powerful drug and intensive
positive image visualization, I was able to get through the full 10
minutes of vestibular training! After this phenomenal feat, however,
the great Olympic athlete that I am passed out in bed and completely
skipped lunchtime!
* * *
POST 46 | DAY 141 - August 15, 2009
FIRST SIMULATION STEPS
I headed for my simulation preparation with Max, my captain. This
would be our first simulation together. I was so tired, though, that I
kept nodding off, looking pretty sheepish at the other end of the
table. My interpreter was translating the course content for me, but I
couldnt even hear what he was saying. I was simply ready to drop! And
so, I was given a doctors permission, just like in school, and didnt
have to play hooky. :) I simply went to bed.
During the evening, another episode of 24 didnt survive more than 24
minutes--again! I have the feeling Ill eventually have to rename it 24
Days or 24 Weeks!
On the other hand, and even though I could only sleep on one side
because of the injection I had received earlier on, I slept that night
like never before since my arrival in Russia.
When I awoke the next day, all my senses were wide awake. In the
morning, I had a centrifuge test, during which my arrival/departure
profile was prepared, and everything went well. Instead of more
vestibular training, I was very willing to do 10 centrifuge tests, but
they didnt accept my offer. Go figure!
Good news! I wont have any more vestibular training to do before my
departure for Baikonur. Ill drink to that!
As for my simulation with Max, was it the power of my subconscious
that took in all the information it received the day before, despite
my almost unconscious state? Whatever the reason, the fact remains
that everything went amazingly well!
* * *
POST 47 | DAY 143 - August 17, 2009
BYE, BYE SPAIN...
At the end of the day, I left for Ibiza, where I would spend my last
weekend before my departure for Baikonur. By this time, SOYUZ, all
nice and clean, had been issued his little passport so he was ready to
come along with me and be introduced to the family. Jack, my other
dog, looked a little puzzled at first, but it didnt take long for the
two of them to start playing together and become good buddies!
Lots of friends were there to greet me and I was really happy to see
them. They had come to celebrate my birthday a bit ahead of time
(since it falls on THE BIG DAY and Ill be in Russia). We had dinner
and spent a wonderful evening together.
Saturday, I woke up early and headed for the pool to do a few laps and
swim with the kids. With my friends, we threw a Cool Margarita Pool
Party. We laughed, went for a swim and chatted. At sunset, I was
treated to a fire show, a birthday present I truly enjoyed.
We returned home for a BBQ and had some good discussions throughout
the evening. At midnight, Dad went to bed while everyone else stayed
up, even the kids! Could this be a side effect of the sedative I took?
The result of too many Margaritas? Or am I simply losing the habit of
partying?
Of course, I was the first one up on Sunday so I did some more laps in
the pool. Its such a great way to start the day. In the evening, I
treated myself to a good homemade spaghetti, admired a magnificent
sunset and, with a heavy heart, said goodbye to the whole gang: Ill
see you all soon, when I get back!
* * *
POST 48 | DAY 144 - August 18, 2009
ON MONDAYS, I WRITE
We kicked off the week on a grey note: the clouds and cold weather are
back in Moscow, along with another medical exam with various tests. We
studied the Life Support System more in depth, including the oxygen
mask, signals, extinguishers, emergency evacuation procedures aboard
the ISS, and so on.
I had my altitude chamber test at 10,000 metres as well as other
medical exams. I didnt reach the top of Mount Everest, but I did
reach my own personal heights!
Like always on Mondays, my evening was quite busy. Theres the Mission
Log to update and pictures to choose for the Poetic Social Mission, e-
mails received over the weekend to read and answer
so you can see
that I dont get a whole lot of sleep!
* * *
POST 49 | DAY 146 - August 20, 2009
FIT TO FLY
As if it wasnt enough to bend my body like a contortionist in my
spacesuit last week, I had to put it on again for another 2 hours,
this time squeezed into a little box at an altitude of 30,000 metres!
The purpose of this relaxing experiment was to test my endurance
I
just hope they wont ask me to wear my spacesuit for a whole night in
my little bed!
We also did quite a lot of preparedness simulations. Everything went
well and I was even able to sneak in a power nap once again! Lets
just say these little naps help me regain a few hours of sleep here
and there.
Along with other medical exams, I was tested on the Life Support
System simulation. These exams were followed by a second, and equally
important, test from the GMK, Russias Main Medical Commission. While
the first GMK test cleared us for training, this one will give us the
go-ahead to fly. So here we were, Max, Barbara, the back-up captain
and I, going from one office to the next, meeting with one doctor
after another. We were all smiles when we received confirmation that
we were medically fit to fly. What a relief!
There was a very important exam coming up on Friday. Since I still
wanted some stars in my notebook, I studied all night!
* * *
POST 50 | DAY 148 - August 22, 2009
SPACE CAMERAMAN
I had absolutely no time to work out this week, so in order to squeeze
a bit of exercise in the day, I had to steal a few minutes at
lunchtime or get up really early. I guess Ive become addicted!
After the exam, we got some good work done. As soon as the test was
over, we launched into emergency procedures and did another thorough
review of all the ISS systems.
The day ended with a hands-on video training session using the
equipment Ill be taking up with me to make videos for my Mission Log
and the Poetic Social Mission. I should be a real pro in no time!
Training with the team starts next week and I cant wait! Well be
testing and putting into practice everything weve learned in the last
few weeks.
* * *
POST 51 | DAY 150 - August 24, 2009
AN EXUBERANT FILM CREW
I spent the weekend in Moscow and, like all my other times there, the
weather wasnt that great. So I stayed at the hotel and treated myself
to lifes little pleasures: good food, a few massages, a few workouts,
some movies, putting my paperwork in order
But my head was so filled
to the brim with everything I learned in the last days that I went to
bed late. I just couldnt fall asleep.
On Sunday, I simply shut off my phone, something Ive never done since
the beginning of my training. Well okay, I did answer, but only when
my partner or Renée-Claude called
and, in her case, it was just to
get a phone number from me!
The film crew was with me and I had to throw them out of my room--they
just wouldnt leave otherwise! But can you blame them? Theyre so
enthusiastic about the Poetic Social Mission. ;-)
And to think I could have done all this in Star City! But it did me
good to take it easy for an entire day (well, almost).
The sun finally appeared for a brief 15 minutes late Sunday afternoon.
Will I one day enjoy a cloudless weekend in Moscow? To be continued
next week!
* * *
POST 52 | DAY 151 - August 25, 2009
AND THE TRAINING CONTINUES...
Since I felt quite rested after my weekend, I had planned to leave
Moscow at 7:00 a.m. for the obvious reason: thats when Starbucks
opens! When I arrived there, you can imagine my surprise to find out
they had changed their opening hours! The look of utter despair on my
face must have moved the staff since they accepted to open at 7:20. So
off I went with a smile on my face and a Frappucino in hand, ready for
a 1-hour drive to Star City.
I was also cheered up by the prospect of training with my crew all
week. We started with consultations on topics I had already touched on
but need to master well, such as making a diagnosis, identifying the
medication on board the ISS, understanding how the belt (the one that
controls blood circulation) works and, of course, learning to wash
oneself
When we perform simulations, we need to prepare them by consulting
each other beforehand on various matters (e.g., the duties to carry
out). We had our first preparation Monday afternoon, and everyone was
in a good mood.
* * *
POST 53 | DAY 153 - August 26, 2009
SPACE CLOWN!
Our official photo session took place this morning but, happily, we
werent asked to wear a tie over our flight suit. Phew! Max was there
with his wife and two kids, Jeff was with his wife, and I was, well
without my love. :( Well have to do some Photoshop later on!
I know that I had to be a good sport for these official photos, but I
still wanted to get them involved in my madness: my objective was to
let them take a picture of the good citizen
and of the artist. I took
some clown noses out of my goody bag and we had lots of fun posing for
more official photos, version no. 2 this time! It really touched me
that my 2 partners played along with me. And the children--who also put
on clown noses, of course!--had a good laugh.
* * *
POST 54 | DAY 154 - August 28, 2009
FIRE SIMULATION IN THE ISS
Our work plan in hand, we started the simulation exercise: a fire in
the ISS. Our task was to conduct an emergency evacuation and return to
our Soyuz. Among other things, this simulation involved putting on our
suit and oxygen mask, so my 6th baby (the green one, remember?) served
me well!
According to my partners, this is one of the most difficult exercises.
And I have to agree, since what started out in a cool, calm and
collected fashion ended in sheer exhaustion, with sweat pouring down
our faces! This fire drill really helped me apply techniques that I
hadnt yet put to the test. I made a few beginners mistakes but
gained precious experience along the way. There are two important
lessons here: first, in an emergency situation (involving fire, in
this case), Roll yourself on the floor is not the kind of advice we
want to follow! Second, its important for us to remain calm since,
with all the equipment we carry, it doesnt take long to either run
out of energy OR breath AND everything becomes heavy AND our masks fog
up. It was such a great experience!
That night, I had a series of interviews with a Québec journalist who
came to pay me a little visit. A bit far to come for an interview,
dont you think?
* * *
POST 55 | DAY 155 - August 29, 2009
IT TAKES THREE TO TRAIN
I had an exam on several topics we studied last week concerning the
design and layout of the ISS. I feel like an aspiring young space
architect!
At lunchtime, I slipped away to do my workout. Once you get into the
habit, its hard to stop.
We had an exercise to carry out while wearing our flightsuits but my 2
partners did most of the work. Its reassuring to see how well they
know what to do and how well trained they are in the sequence of steps
to take. In a nutshell, the exercise went smoothly.
I was interviewed by a journalist from AFP (Agence France-Presse). I
have to say, the official photos were taken at just the right time!
Barbara and I also went to Energia, where we were shown how to pack
our equipment. We also went over the functioning of the photo and
video cameras and learned how to use SIGMA, an application that lets
you capture all GPS points you wish to photograph from up above. (And
no, I wont be photographing all Starbucks store locations around the
world!)
Then, we took (and passed!) our exam on the on-orbit health
maintenance system. I promise to do my best to be a credit to the
medical profession! ;-)
During another exercise, while we had our spacesuits on, they caused a
leak in mine but I reacted quickly and everything went well. I had
planned on taking it easy after this little deliberate incident, but
found myself driving in the rain through traffic instead, trying to
get to Moscow to pick up my Kasakh visa. I had made an appointment,
but still had to wait 90 minutes once I got there. The good news is I
can now check this off my to-do list, since I now have my visa in hand
for my return to Earth!
* * *
POST 56 | DAY 155 - August 29, 2009
TOURIST IN MOSCOW
I spent the weekend in Moscow with my good friend Stéphane Francisci
from Paris. We had dinner at Mario, in my opinion the top Italian
restaurant in Moscow. If ever youre in the city one day, I recommend
that you try it out!
Our evening at the Pacha club (where we were very well received by the
manager) was cut short though. After boldly attacking the vodka,
Stéphane felt the vapours quickly go to this head. Lets just say the
effects of his jet lag were quite volcanic--or should I say vodkanic?
! And so, we were back at the hotel a bit earlier than expected
Luckily, a massage at the hotels spa helped us relax and the Russian
banya helped melt all those nasty toxins away. Welcome to the Russian
version of a detox, Stéphane! Nothing like a good whipping after
sweating it out! Its always quite amusing to see the expression on
someones face after trying out this unusual experience for the first
time. Its really a form of shock treatment! Respecting tradition, the
banya is followed by a good Armenian meal right on sight (including
shashliks--yummy!) and some good beer. We then went to a supperclub to
meet some friends but we were so exhausted, we could barely keep our
eyes open!
I enjoyed my first day of sun in Moscow the following day and just
couldnt believe it! We made the most of it by playing tourist,
walking around the city for hours and buying souvenirs. And we watched
the Grand Prix on television--a must-see!
We ended the day with a flourish, in my favourite restaurant: Nobu.
Delicious!
* * *
POST 57 | DAY 156 - August 30, 2009
LIFT-OFF IN 30 DAYS!
The celebrations for my 50th birthday have officially started and it
was very pleasant to start my 50th year in the company of a good
friend. Life is beautiful
so Ive chosen PLEASURE as my favourite
word this year, since this is how I intend to live this stage in my
life.
True to my promise to myself, I took a real break last weekend. Part
of my team was in Kiev, also playing tourist. It always does a lot of
good to take a little pause and forget about everything for a while
and not trip on camera cables or wear a hidden microphone for the boom
operator!
I had a nice family get-together via Skype for my young son, who was
celebrating his birthday. I felt heavy-hearted for not being
physically present, but I was very much so in spirit.
Ive started to feel a true adrenalin rush. The countdown began on
Sunday and lift-off is now in 30 days. Im feeling it, Im living it
and Im so excited!
Finally, Id like to apologize for the delay in sending you my mission
log this week, but the press conference kept me very busy. See you
next week then!
* * *
POST 58 | DAY 157 - August 31, 2009
FEW WEEKS BEFORE THE BIG DAY
Geneviève, my coordinator, joined me at 7:15 a.m. at the hotel, where
we were meeting our lift to Star City. Of course, at 7:30 on the dot,
I made my usual pit stop at Starbucks and left for Star City with
happy thoughts of my weekend in Moscow.
Monday mostly involved training preparations with my crew. I also
skipped my Russian course to work out at the gym and go swimming!
It hit me all of a sudden that, as off yesterday, I only have one
month left before lift-off, which means that its now a question of
weeks--and not months--before the big day. This thought gave me
butterflies in my stomach and quite an adrenalin rush!
When I swim, I usually have to stop after each 2 or 3 laps because
water seeps into my goggles. Was this accidental or only due to the
fact that I hadnt yet found the right technique for putting them on?
Whatever the reason, my goggles fit tightly that day and I was able to
do some 50 laps non-stop, which amounts to more than 1 kilometre! I
was in a sort of trance, totally absorbed with going over everything I
had learned and the various sensations I had recently experienced.
This was the first time I truly felt I was back in shape. Though I
havent been preparing myself physically for my mission in space for a
very long time, this 1-kilometre swim confirmed to me that my fitness
program is working well.
In short, this moment in the pool made me happy.
In the afternoon, I had to return to the Mission Control Center (MCC)
in Moscow with Max, Jeff and the backup crew, among others, to meet
each group in charge of our flight program, e.g., communications, the
on-board computer system and all other elements that are linked to the
interface between the control center and the ISS. We also had a
meeting with high-ranking officials of the MCC involved in the
mission.
For the most part, Max and Jeff were the ones who actively
participated since theyre leaving on a 6-month mission. I mostly
listened and found all of it very interesting.
We drove back to Star City under the sun (yes!). In fact, my Russian
friends are surprised by the current temperatures, since its almost
like summer all over again. The forecast is sunny and warm--all week!
Monday evening was devoted as usual to writing my log mission and then
reviewing material for Wednesdays press conference.
# # #
TO BE CONTINUED...
Next month well continue with T-30 Days and Counting! (September
2009, Pt 1), Departure for Baikonur (September 2009, Pt 2), Moving
Stars and Earth for Water (On Orbit), and finishing up with Back on
Earth Mission Success!
Stay tuned!
------------------------------------------------------------
SPECIAL: "The Canadian Panorama: The 2015 Pan
Am Games" By: Alan Hardiman, published in
Lighting & Sound America October 2015 Issue
------------------------------------------------------------
With a spectacular fusion of music, dance, acrobatics, aerialists, BMX
stunt cyclists, lighting, video, and pyrotechnics that spanned close
to three hours, Montreals Cirque du Soleil kicked off the 17th Pan
American Games in Toronto with an opening ceremony like none other
before it. More than two years in the making, the July 10 show--the
largest event the Cirque has ever produced--inaugurated the largest Pan
Am Games in history, with 6,200 athletes from 41 countries
participating in 36 sports.
The shows broad theme was the coming of age of Canada as a nation,
sketched in parallel with the maturation of an individual from
childhood to adulthood, all of it overseen by five gods representing
the original Olympic Pentathlon, the guardians of javelin, long jump,
wrestling, discus, and running.
Bruce Rodgers set design centered on an 85' x 85' diamond-shaped
stage flanked by four satellite 20' x 20' stages on the field of the
domed Rogers Stadium, dubbed Pan Am Stadium for the duration of the
games. Directly behind the stage, five spaced 22' x 40' Strong MDI
screens hung side-by-side to form a 126' x 40' surface for video
artist Johnny Rangers stunning projections, which complemented the
live action on the stage and high above it, where Cirque du Soleil
aerialists held the sold-out stadium audience of 45,000 in thrall for
much of the evening.
Throughout, composer Maxim Lepages original score underpinned the
performances as well as the parade of athletes, for which he composed
a different variation for each and every country, reflecting its own
unique music while providing continuity to the parade. Lepage
maintained a brisk 120bpm tempo to keep the athletes moving and to
prevent this slight diversion from the stage show from dragging down
the proceedings.
To serve up the score, Marc Laliberté designed a sound system
consisting of 120 Meyer MILO elements--15 in each of eight line arrays
flown over the stage, supplemented by 36 deck-mounted Meyer 700HP subs
and the stadiums house PA.
Befitting the spectacle, lighting designer Martin Labrecque lit it in
dramatic fashion, using several truckloads of instruments, chief among
them Philips Vari-Lite units and Clay Paky Sharpy moving beams.
The show was broadcast live to hundreds of millions of households
around the globe, with a feed generated from 29 cameras that also
served three IMAG screens flown above the aerialist grid and
loudspeaker rigging.
THE BEGINNING
-------------
The story unfolded through five major set pieces, or tableaux,
beginning with the sound of heavy drumming. The program notes relate
that the entire stadium represents the womb, where tradition says
indigenous peoples learned drumming from their mothers heartbeats.
Drumbeats announce the arrival of the all-knowing eagle that comes to
deliver a message. As the eagle transformed into a human Messenger on
the projection screens, dancersmounted the steps to the main stage
and that same Messenger arose live from the onstage fog as a group of
First Nations People ascended to each of the four satellite stages.
(MDG supplied the shows fog and haze machines.)
The notes explain that the four ancestral nations of the Greater
Golden Horseshoe region of Ontario--the Mississaugas of the New Credit
First Nation, the Métis Nation of Ontario, the Six Nations of the
Grand River, and the Huron Wendat Nation--welcome the Messenger, each
in their own way. In this first tableau, the PowWow Carnival of
cultural diversity, 183 dancers from 21 dance troupes perform
traditional and contemporary choreography from many countries. DJ
Shub, formerly a member of the powwow-step band A Tribe Called Red,
scratches along with the pre-recorded score.
Rodgers says, It was so exciting, just the way they work, because
every single person at Cirque du Soleil is so highly creative. For me,
it was just a question of jumping in and holding on! Ive got a number
of large-scale stadium shows on my resume--Im well into my 10th
consecutive Super Bowl halftime show as we speak--and they said they
needed expertise in set design for television and live events, to take
their incredible conceptual design and help sculpt it into a form that
could be loaded in on budget and on time without losing the essence of
the concept. Ive done a lot of big shows--with Prince, Bruce
Springsteen, and Madonna, for example--and I had always dreamed of
working with the Cirque.
They were about a year into their design process, and as they started
to crunch the numbers, they realized they had only a fraction of what
the budget needed to be, Rodgers says. I got invited in as a
production designer, to help them identify the essence of what it is
they were trying to do, and somehow help them bring it off. Their
storyboards were completely out of this world, and profoundly
inspiring. It sounds like Im going overboard, but Im not. The
visuals and the ideas they had would rival any Cirque show that
anybody has ever seen, and any opening ceremonies ever staged across
the planet.
The torchs arrival early in the proceedings provided a focal point
for the rest of the show. Via video projection, past winners handed
the flame off to the Canadian Olympic sprint gold-medalist Donovan
Bailey, whose stunt double, in a scene reminiscent of the Daniel
Craig-James Bond segment at the London 2012 Olympics, BASE jumped from
the top of the adjacent CN Tower--the tallest freestanding structure in
the Western Hemisphere--and then appeared live, descending to the stage
in harness, torch in hand, to wild applause. Bailey handed the torch
to 15-year-old diver Faith Zacharias, who placed it in a cobra head-
shaped receptacle, to await the lighting of the cauldron at the end of
the evening.
The cobra head--that sliver of pyro pipe that came out of the stage--is
just about on the pitchers mound, Rodgers explains. We did a
boatload of spatial studies. As a set designer, youre always kind of
ground-based: whats happening on the floor to allow for the movement
of performers, and also to allow for good sightlines, not only up in
the tiered seating but down on the main floor as well. And what are
the broadcast cameras going to see? You start working with these
floor-based calculations, but with Cirque they are heavily in the air,
and youre in a whole different dimension so that you dont get a lot
of time on any other sort of set design, because nobody flies like the
Cirque! Youve got this massive, amazing rigging for the magnificent
aerialist flying rig that you have to work around. It was so exciting
to look up at what Danny Zen and his team had done technically with
the rig overhead.
Rodgers hung three 26' x 15' IMAG screens at a trim height of 111'
above the stage, facing forward and to both sides. The Rogers Centre
is one of the better roof-covered baseball stadiums in North America,
so as long as youre designing near where they play the game of
baseball, you know the sight lines are automatically going to be
pretty good. But because were telling a story, we needed to add IMAG
screens all around the upper part of the set design--not very many,
just enough to provide a closer picture of some of the little things
on the stage way down there, he says.
The whole show felt like IMAG in a very cinematic way, especially
when seen together with Johnny Rangers video, which was so
beautiful, Rodgers says. He and Martin Labrecque worked so closely
together on balance--you really want to be pushing 50fc off those
screens, and the iris on the camera wants to be F2.8 or so, and you
feel like youre watching a very rich presentation, not only in the
foreground on the stage, but on the screen content in the back. That
was one thing we were super worried about. We had to find the magic
number for broadcast that might feel a bit strange in a live setting,
but we tweaked that little bit of science between camera and lighting
and projection, and we found the sweet spot.
INTERPLAY OF LIVE ACTION WITH VIDEO PROJECTION
----------------------------------------------
To begin the second tableau, The Fire Line, four costumed stilt
walkers representing the bear, caribou, woodpecker, and owl, guided
150 children holding illuminated floor lamps along trails of
discovery, bathed in the glow of the aurora borealis and a pair of
lasers, beneath the steady gaze of the live javelin goddess, who had
risen to her apotheosis high atop a scissor lift. Aerialists performed
above them, suspended in transparent globes and decorated baskets.
In an effective interplay of live action and projected video that
initially looked a lot like IMAG, the javelin goddess appeared on
stage as a ballerina, while her onscreen counterpart seemed to mimic
her movements, occasionally in slow motion. The frightened children
crept off the stage as the latter threw the javelin seemingly straight
out of the center screen, spitting fire, igniting the pyro pipe, and
dividing the main stage straight down the middle with flames extending
almost to the torch in the cobra head at the apex of the diamond.
According to the program notes, This creates a border that marks the
end of childhood and marks the first test on the road to adulthood.
The young people reappeared on either side of the fire line as
teenagers with lacrosse sticks, and began to challenge each other
across the flames.
Eight of the more acrobatic teens leapt and tumbled over the flames,
then began playing a stylized game of lacrosse to resolve their
differences, lacrosse being a traditional alternative to going to
war. On-screen, a Bombardier CL- 415 water bomber flew in low, at a
realistic sound level and in glorious surround, to extinguish the fire
line, bringing this segment to a close.
This interplay between the live action and video projection recurred
throughout the entire show, and was a hallmark of the production that
made it fascinating to watch.
The video was one big image of 1,920 pixels high by side-by-side
vertically together, with a space of 4' between 6,017 pixels wide,
projected over five HD screens placed them, Ranger explains. Each
screen was 1080 x 1920, but when we created the final composition, we
filled in the gaps in between, so that took us up to 6,017 pixels
wide. It was an enormous rendering project: a two-hour program at 6K
resolution. From most positions in the stadium, the screens were
massive in comparison to the performers, and therefore had a big
impact.
Ranger served as video projection designer, and was on the project
full-time since January, working closely with Cirques directors to
translate their script and narratives into visual concepts. With my
producer, we hired a small team of motion designers and organized the
video shoot in March that I then directed, he says. We shot in 4K
with the Phantom camera, which we used to shoot scenes, characters and
effects at between 300 and 900 frames per second for extra slow motion
effects.
The extra slow motion was particularly effective in sequences
involving explosions, granular objects, and powders, due to the Vision
Research Phantom Flex4K cameras very high definition. (Phantom
cameras are also used in ballistics testing and particle image
velocimetry.) We needed to shoot the same actors and acrobats wearing
the same costumes they would be wearing in the live show, so we had to
ask the wardrobe and makeup departments to be ready in March for us to
begin shooting, Ranger says. So the costumes for the main characters
had to be finalized by then. That was followed by an intense period of
post-production in the last few months, during which I also worked as
an editor on different tableaux for the final program, which was
completed mostly in Adobe After Effects.
Ten coolux Pandoras Box media servers were deployed in a dual-
redundant configuration, with two Pandoras Box Manager units for real-
time show control and synchronization. Fifteen Christie Roadster
HD20K-J 3DLP projectors were arrayed in five banks of three to each
screen, notes video project manager Nicolas Gendron. (All video,
lighting, and sound gear was supplied by Solotech.)
The video program was completed four days prior to the ceremony, but,
even then, there was still some rendering to go. We were lucky that
the rendering went according to schedule, Ranger says. It could have
been a bit tight to render in that format for all the tableaux; also,
we were doing about 45 minutes of animated content during the parade
of athletes, and we had to create something different for each
country. But the most difficult part lay in administering the budget
we were given, and trying to figure out how to maximize its value.
Once we started production, it all went very smoothly.
The video team was a small one: two motion designers, an illustrator,
a technical director, and Ranger alternating in the roles of designer,
video director, and editor.
TRIBUTE TO SOUND
----------------
The third tableau began with a short scene entitled Waves, in homage
to Canadian broadcasting pioneer Reginald Fessenden, says the program
notes. To their astonishment, dancers discovered radio waves hovering
above their heads as they tumble around an old radio receiver.
Snippets of Canadian love songs break through the static, leading to
the next tableau, Hearts in Bloom. The guardian of the long jump
chooses this segment for the longest leap of our adolescent lives: the
discovery of love. The freedom to choose whom to love is a gift that
Canada offers to the world.
The guardian of the long jump, who also happened to be a sling dancer,
performed atop a ring of draped silk, as video of the snow-capped
Rocky Mountains taken from a helicopter was projected onto the five
screens. Forty dancers from National Ballet School and Toronto Dance
Theatre ended up pairing off in various combinations of boy-girl, boy-
boy, and girl-girl, to drive the point home.
Providing monitors for hundreds of performers and support staff was a
major part of the sound system design. We were running more than
1,000 in-ear monitors (IEMs), with 20 discrete mixes of Shure PSM 1000
on 60 belt packs, feeding Shure SE425 sound-isolating earphones for
the principal actors and singers, and the ten BMX bicycle acrobats,
says Laliberté.
The remaining 950 acrobats, artists, volunteers, and protocol staff
received the program through a new FM system, he adds. The most
important guys on the gig were the RF people from a new Quebec
company, Squelch Inc., and those guys are RF freaks! They built all
sorts of custom antennas and cable for us, and they handled all the
frequency coordination with Industry Canada, in cooperation with an
official from the TO2015 organizing committee. We ended up with four
discrete FM mixes: one mix for the 150 kids in the show, without too
many distractions and calls in it; a second mix for the adult artists;
a third for the volunteers in the parade of athletes and other parts
of the show; and a fourth mix for the protocol staff.
In addition, we were running a few dozen Sennheiser SK 5212-II lav
packs and 30 packs of RF intercom, he says. The Sennheisers allowed
us to change the power on the transmitters, so we could lower the
power as much as possible to get as low intermodulation as possible.
With this kind of event, our RF has to be integrated into the
frequency plan for all the events, because we had to supply a
frequency plan to Industry Canada months ago, even before we knew what
we were going to be doing. It was a huge undertaking.
In addition, Laliberté flew 10 Meyer DF-4 long-throw monitor
loudspeakers on the acrobatic grid to provide downfill for the
aerialists who were not wearing IEMs, and built a shelf around the
edge of the stage for 12 Meyer Melodie cabinets. I chose the
Melodie because of its very low profile and 100° horizontal coverage;
it covered the stage very well, he says.
Laliberté specified two DiGiCo SD7 dual-engine consoles, one for the
front-of-house mix, operated by Mark Vreeken, and one for monitors,
mixed by Russell Wilson, and a dual-redundant Optocore signal
transport system.
The show production involved about 90 inputs, with 24 additional
inputs from the Riedel Artist intercom system to the monitor desk.
Each of the four FM mixes also contained its own interrupt foldback
(IFB). While the stage manager, Stefan Miljevic, called the overall
show, every specific department had its own show caller. Each dance
group heard the dance counts from its own choreographer to keep them
in time. Throughout the show, there were different people talking to
the children and to the adults.
We used 48 outputs for monitors only, feeding two Meyer Galileo 616
processors for control, he says. The FOH console fed 10 Galileo
616s, and also provided safety mixes to broadcast control. In
addition, we sent a MADI stream of all the inputs to Mike Nunan and
Anthony Montano who were mixing in the BAS Broadcast Audio Services
truck as a backup to their Lawo I/O system.
Two computers running QLab took care of playback, the second being a
redundant backup unit. Analog outputs were used because the Radial SW8
auto-switchers feature only analog I/O. More than 90% of the shows
sound was from playback, the 16 tracks of music arranged as stems to
help maintain control of various frequency bands within the venue.
Tracks 1 and 2 contained percussion and lowfrequency content, tracks 3
and 4 held the low strings and pads; high strings and pads went to
tracks 5 and 6, front sound effects were on tracks 7 and 8, surround
music was on tracks 9 and 10, surround sound effects were on tracks 11
and 12, tracks 13 and 14 were reserved for vocals, and tracks 15 and
16 were dedicated to special cues, such as counts, clicks, verbal
instructions, and comments.
The great thing about QLab is that it generates longitudinal time
code [SMPTE LTC] in real time. We were still composing until the very
last minute, and if we had had pre-recorded tracks of time code, it
would have been impossible to deal with--for every change, youd have
to redo the time code track. But by generating time code in real time,
we were able to make changes right up to the end. Time code was
redundant too, but were keeping how we did it a secret! We had a
third backup coming from a computer running Digital Performer on a
separate power circuit for use if everything else failed.
The Optocore closed loop ran from a backstage DiGiCo DigiRack, then to
a second DigiRack at the front-of-house position. From there, it went
to the music playback control room where the show callers,
choreographers, producers and three live announcers--French, Spanish,
and English--were headquartered, and then back again to the front-of-
house console and finally to the monitor console and backstage rack,
where the loop was closed. If we encountered a break on one side, the
other end of the loop would still make it, Laliberté says.
Some 200 EAW stadium house loudspeakers were used as delays. Laliberté
took advantage of an additional ring of EAW loudspeakers on the 300
level that are permanently aimed back at the field, pressing them into
service for his surround mix with the eight main line arrays of Meyer
MILOs flown 70' above the stage acting as mains.
When I first went into the Rogers Centre, I was surprised at how good
the house PA sounded. So I started the concept from there, using the
house system in conjunction with our own. When I saw the first
drawings of the stage, I decided to fly eight line arrays so they
would be almost equidistant to every seat in the venue, and permit the
delay between the production system and house system to be about the
same everywhere. Every speaker in the Rogers Centre has a dedicated
output from the house [BSS] Soundweb London Blu system, so we were
able to fine-tune its 100 zones and delay it to our system. It was
really well integrated with our production system, he says.
While he was able to achieve only 85dB SPL (Cweighted) with good
intelligibility in the empty house, Laliberté found that, during the
show, with 45,000 human absorbers in the seats eliminating the
slapback, he reached almost 100dB with no adverse effects. It felt
like a rock show, he says.
ROCK SHOW LIGHTING
------------------
It also looked like a rock show, thanks to Martin Labrecques stunning
lighting design, centered on 100 Philips Vari*Lite VL4000 and VL3500
Spots and 109 Clay Paky Sharpys.
This was the first time I had done something in a stadium, Labrecque
says. I come from the theatre world, and I do a show with the Cirque
about every two years. This was something totally new, and I wanted to
get out of my comfort zone. I think the reason they asked me is that
they wanted a hybrid between theatre and a rock show. I lit most of
the acrobatic numbers with a more theatrical feel, and, between those
moments, its more like a rock show. The director, Bastien Alexandre,
wanted to use the beam of the Sharpys a lot, especially moving in
interaction with the Messenger.
For wash, he used a combination of 80 VL3500 Wash and Wash FX
luminaires, together with 30 Sharpys and 24 Martin Professional MAC
600 NTs. The main grid was an acrobatic grid, so in terms of weight I
was very limited, due to all the winches and other equipment used for
the aerial acrobatics. So I put most of the Sharpys on the floor
around the stage, and used the main acrobatic grid to envelop the
artists. We were also aware of the radius of movement when the
acrobats were spinning around, and we were careful in positioning the
lights to keep them out of the way, he says, noting that he mounted
many of the VL4000s up on the 500 level balcony.
Mathieu Poirier, Labrecques associate, notes that the lighting desk
setup included two grandMA2 full size consoles (one main and one
backup); two grandMA2 light consoles (one for the DP and one for
associate lighting designer); and three grandMA2 NPU network
processing units.
Before the load-in, we had about 25 days to build the show on the
CAST WYSIWYG and grandMA2 platforms, Labrecque says. We had only
five nights in the stadium, which is not much at all, and had only
three or four hours sleep a night. It was pretty stressful when we saw
the first run-through on the morning of the dress rehearsal. That was
the first time I saw the show.
The most difficult part of the lighting design for Labrecque was the
requirement to light the show for television as well as for the house.
Because his TV experience was limited, he asked Yves Aucoin, lighting
designer for Celine Dion, to accompany him during those five nights in
the stadium to take care of the television look.
Yves helped me to build my image so it looked good on the stage and
on TV, and we were able to achieve a good balance between the two,
Labrecque says. Normally, I dont work with 29 cameras--its only my
eye. He was incredible. He really helped me to achieve what I had in
mind, but for television. He helped me build all the looks so it was
really great having him with me. I learned a lot.
I had maybe five pages of notes that I didnt do, he adds. I just
closed my book and said, Lets hit it. There was no time left. We
were a team of five: Mathieu Poirier; Eric Belanger, the board
operator; Annick Ferland, the followspot operator; Yves Aucoin as DP;
and myself. We formed a very tight group. We knew where we were going
and they all did a fantastic job. Im very proud of the team.
The next two tableaux, A Storm of Possibilities and A Train for Life,
were overseen by the gods of wrestling and discus, respectively. The
program notes tell us, Doubt grips us at the moment we begin to
choose our destiny. The guardian of wrestling leads young adults into
the turmoil of his own inner struggle. They find confidence and
strength, and the sky literally rains down professions on them, in
the form of various uniforms and work garb, that they then try on for
size in preparation for entering the workforce.
A Train for Life: Like a thread from coast to coast, the railroad
touches territories and people, uniting them, forming a country. Its
the moment of departure from home when young adults leave to forge
their own paths. The railroad represents the journey of all athletes
who leave home to follow the arduous paths that led them here on this
special night. The guardian of discus is here to guide them, help them
connect with their individual destinies, inspire them with a shared
determination to complete their journeys by building on a strong
country and a stable future.
These two segments featured aerialists performing on spinning ladders,
representing the vagaries of upward (and downward) career mobility. A
mini-rail train arrived to take them all away, following which 10 BMX
stunt cyclists performed death-defying tricks on eight ramps on the
floor around the main stage.
MAINTAINING CONTROL
-------------------
Synchronizing 625 performers and hundreds of support personnel with
video and audio playback, lighting, pyrotechnics, hazers, fog
machines, motors, and sundry other equipment in a one-time-only live
show could easily have become a nightmare. Fortunately, a show-control
protocol was established to accommodate any unforeseen changes in
pacing and stage management issues.
Each of the different tableaux and the transitions between them began
at a different hour of time code. The first tableau started at
01:00:00:00, the next at 02:00:00:00, and so on through the 18
individual sections of the show.
The LTC from QLab provided go commands to the other departments.
Video and lighting received their cue, and then they free-ran to their
own internal timing reference, Laliberté explains. Because of the
acrobatics, almost every song ended in a loop, because it was
impossible to know in advance precisely when an acrobatic routine
would end. So we had to wait for a go to proceed with the next song.
Every song was produced to be longer than its program length by two or
three minutes. Sometimes it would go on to a loop, which obviously
doesnt work with linear time code. Therefore, everybody had to go to
free-run and wait for the next cue. Also, with a stage filled with 300
people, you dont know precisely when it will be cleared, and because
of the pyrotechnics and aerials, there were always safety issues. The
intercom system was so critical, because we always had to wait for an
all-clear from the floor managers before we could go on to the next
number.
There were over 400 cues throughout the show. Our playback guy,
Martin Ruel, had his finger on the space bar the whole time! The stage
manager Stefan Miljevic was the show caller; he had the time code in
his head. He was calling the show by reading the time code, and he
knew it by heart. It was all manual starts, he says.
We used the Riedel intercom system to distribute time code,
Laliberté says. Every operators panel had two audio outputs, so we
could supply time code to every position. There were two really big
numbers in the show: the opening, and the lighting of the cauldron at
the end. In the opening, we also had FSK (frequency shift key) time
code that was dedicated to the pyrotechnics. FSK time code has a low
baud rate signature, and it can be sent over RF without any problems.
That we could not generate, so it was a pre-recorded track that we
sent to the pyro team.
The final tableau, culminating in The Lighting of the Cauldron, began
under the watchful eyes of the guardian of running, and involved
numerous acrobats running on treadmills high atop scissor lifts,
anticipating the torch runners and the ultimate hand-off of the flame
to Canadian basketball legend Steve Nash.
Torch in hand, Nash ran out of the stadium, making his way to the
cauldron at the base of the CN Tower, where he ignited the cauldron
and set the tower ablaze in a dazzling fireworks display that could be
seen for miles around, and that rivaled--but could not surpass--the
unbelievable show we had just witnessed from Cirque du Soleil.
------------------------------------------------------------
INTERVIEW /// "Gabriel Christo - Teeterboard, Corteo"
By: The Chapiteau, a Cirque du Soleil Fan Club
------------------------------------------------------------
Gabriel Christo is a gymnast from Belo Horizonte, Brazil. At the time
of the interview, Gabriel was in Cirque du Soleils Corteo Teeterboard
act, but has since left Corteo to join creation for the previously
announced Avatar show. Check out the interview to find out more about
Gabriels gymnastic beginnings and how he ended up in Cirque du
Soleil.
When we finish the show and the audience appreciates it and they show
it to us; when they celebrate with us and they react really well and
they scream at us, they wave, they cry, they smile, thats when
everything makes sense. Thats my favorite part. Thats why I do it.
* * *
Q. Where are you from?
Im from Brazil. From Belo Horizonte.
Q. How old are you?
Im 27.
Q. Can you tell us a bit about your childhood?
I was a very happy kid. Because I was born very flexible and liked to
do cartwheels all over the place, my mom put me in gymnastics just to
spend my energy. Although, I really wanted to do it. I asked her and
she put me in it. I started at age 8 and I never stopped. This year
Im completing 20 years (career).
Q. You started in gymnastics
I started in gymnastics and at some point I went to the national team.
I started competing internationally representing the Brazilian team.
In one of these competitions, Cirque talked to me and I decided to
give it a try. Right now Im an acrobat in Corteo.
Q. How did you end up in Cirque du Soleil?
In 2007 I went to compete the World Championships in Quebec City.
Cirque had a tent there and one of the talent scouts, he spoke
Portuguese, approached me. He knew some of my friends, so he asked if
one day I would be interested in joining Cirque. I said eventually one
day I could try, but right now I want to try to compete in the
Olympics. We didnt qualify for the Olympics that year and when we
returned to Brazil, I decided to write him an e-mail. I [said] I would
be interested in trying and like a month later he wrote me back that
he had a spot for me.
Q. Was this to audition or did you go straight to general formation?
Because I had been approached by them at the World Championship, they
asked me to send a video of all my skills. I didnt audition. As soon
as I returned to Brazil, I started filming some skills I can do
gymnastics, I can do trampoline, I can do a little bit of dancing. So
I gathered all this information and I sent it to them and they offered
me a profile that would fit my skills. So I never auditioned.
Q. But you said you did go to the general formation?
I went to general formation. I arrived in Montreal and I was there for
5 months. At the end of general formation, they offered me a contract
for Zaia in Macau.
Q. What year was general formation?
I did general formation in 2008.
Q. Did you accept Zaia?
Yes. I was in Zaia for 2 years. I did the formation and went right
away to China and I signed the contract for 2 years. After the
contract with Zaia, I decided to not renew with Macau, so Cirque
offered me a creation for a new show, that would be Iris. I finished
Zaia and a couple of months later I went to Montreal to do creation of
Iris.
Q. Were you with Iris until it closed?
I was. We did the creation and we went to LA. We ran for approximately
2 years before the show closed. I was part of this crew, when it
closed. I moved out of LA and I worked in another show called The
House of Dancing Water in Macau for 6 months. I was diving. It was a
water show.
Q. After that, you went over to Corteo?
Yes. Then towards the end of my contract in Macau
it was temporary. I
accepted a temporary contract because I didnt want to really go back
to Macau. I took this challenge because it was a really short
contract. So I went over there and then Corteo called me because they
needed somebody for teeterboard and I have done teeterboard my whole
life. So here I am today!
Q. Can you explain a bit about Corteo?
Corteo is a very lyrical story. It tells the story of a clown that is
about to die. Basically, the show is a movie of his life. He goes
through the memories of his childhood, the memories of his best
friends the fondest memories about his life. Its a death told in a
very beautiful way. It celebrates happiness.
Q. What is the significance of your act in the show?
My act is the teeterboard act. Its a battle between poor and rich.
Two villages meet for this challenge. On one side is the poor village
and on the other side is the rich village. The artists challenge each
other and they do tricks. They have a very friendly fight on stage.
Its a very nice moment, actually. Its super beautiful and its
impressive. And its very theatrical too. Its acrobatic and
theatrical at the same time.
Q. What do you enjoy the most about Corteo?
What I enjoy the most about Corteo
I think it would be that they gave
us the freedom to be ourselves. So sometimes were on stage and we
dont have a pattern we have to follow every single time. Actually, we
have a pattern to do but we can use our own personality to do it. I
can just be myself. I can react as I would react in real life. And the
makeup is very light too; were basically our own faces on stage. Its
very different from other Cirque shows that everything is very
calculated and rehearsed. Corteo is a little bit too, but its very
free. You can be yourself on stage, which is different from other
shows. Its a lot of theatre involved and I love that part. I love
that we can give our own spice to the character.
Q. At the end of every show, what is the first thing that goes through
your head?
Actually, the end of the show it shouldnt be, but its one of my
favorite parts. Not because the show is done, but because the
audiences reaction. I love getting that back from them. We give so
much energy on stage and sometimes were tired and we try to find
motivation to perform everyday at 100%. Sometimes we dont have much
energy, so when we finish the show and the audience appreciates it and
they show it to us; when they celebrate with us and they react really
well and they scream at us, they wave, they cry, they smile, thats
when everything makes sense. Thats my favorite part. Thats why I do
it.
Q. There must be some tough parts of being on tour. Do you agree with
this?
I find touring life very challenging. Most people would think touring
is amazing and its great all the time because youre traveling, which
it is, but its also very challenging. Youre never in one place. Its
hard to settle. Its hard to have your favorite coffee shop to go to.
Its hard to have your best friends around. Sometimes youre very far.
Living in a hotel is tricky sometimes because you want your own place
but you dont really have it. Those are some little aspects that make
it a little more challenging, but its still beautiful. I love
touring. I love being able to go to new places. And sometimes when
were in a place that is not our favorite place, we know that soon
enough well be changing for another one. Its just a very, very
different life.
Q. That being said, do you plan on staying with Cirque du Soleil for a
while?
Yes, I do. Were looking into a new project for me. As soon as I leave
Corteo, I might have a new Cirque show. Were still talking about it.
But I dont want to stop yet.
Q. Can you say if this is a new show?
A new show coming up.
I just want to conclude saying that joining Cirque was something that
I didnt think before because I wanted to be an Olympic athlete, but
when I did it, it became my new dream. I realized so many dreams of
mine came true being part of Cirque. I went to so many places and I
met so many wonderful people. I saw that this is larger than life.
Theres so much that I got from it; I participated in the Oscars and
in great events. I find myself in the place that I wanted to be and
thats why I dont want to quit yet. Im very grateful and Im very
grateful for the interview too. I love being able to tell my story and
maybe inspire other people.
=======================================================================
COPYRIGHT AND DISCLAIMER
=======================================================================
Fascination! Newsletter
Volume 15, Number 12 (Issue #143) - December 2015
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c)
2001-2015 Ricky Russo, published by Vortex/RGR Productions, a
subsidiary of Communicore Enterprises. No portion of this newsletter
can be reproduced, published in any form or forum, quoted or
translated without the consent of the "Fascination! Newsletter." By
sending us correspondence, you give us permission (unless otherwise
noted) to use the submission as we see fit, without remuneration. All
submissions become the property of the "Fascination! Newsletter."
"Fascination! Newsletter" is not affiliated in any way with Cirque du
Soleil. Cirque du Soleil and all its creations are Copyright (c) and
are registered trademarks (TM) of Cirque du Soleil, Inc., and
Créations Méandres, Inc. All Rights Reserved. No copyright
infringement intended.
{ Dec.08.2015 }
=======================================================================
