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Fascination Issue 128
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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 14, NUMBER 9 September 2014 ISSUE #128
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Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
Since we last spoke Michael Jackson THE IMMORTAL World Tour held its
final curtain call (on August 31st in Guadalajara, Mexico), to much
fanfare. Although not a favorite of mine, the show proved highly
successful for Cirque du Soleil: more than 3 million fans across
27 countries on 4 continents experienced the show, and it frequently
found itself among the top earning tours in the world. Not bad, not
bad!
Other than the closing of IMMORTAL and the pending final shows of
Dralion later in the year (or more technically mid January next year),
it's been another quiet month, news wise. There have been some
rumblings heard that when the Cirque Online Boutique reappears -
which it should do some time in the fall - that not only will there
be a KURIOS CD for purchase, but also a DVD of the show to get our
hands on! The show is now in Toronto so we could see a filming there
soon enough, but considering how long it takes Cirque to release a
DVD these days (Amaluna took a year from filming to release), I
won't hold my breath. Still, if they can make it happen I'll be one
of the first to order it! (Better still, put it out on their Video
on Demand system... we could use a few more new titles there!)
For our feature articles this month we have a couple of special
reprints. The first is an essay we found online entitled "Crossing
Borders: The Multimodal Language of Cirque du Soleil". Written some-
time in 2001 or 2002 by a student at the University of Toronto, it
examines the nature of Cirque du Soleil and how it is able to find
success in lands with different cultures and languages. It was quite
the interesting find. Therefore, we re-print the essay in its
entirety within. The second is an interview Ian Reents of the Solar
Flare Podcast held via phone with Natasha Hallett, former performer
with Mystère and La Nouba. While the podcast is currently on hiatus
(we've been assured he'll be back in the near future - with some
great interviews!), in the meantime we thought it would be great
to showcase Solar Flare's first interview. It's a great one!
As always we've got the latest news items posted to Fascination! Web,
the posts made to CirqueClub's pages and Cirque's Facebook links,
and, of course, updates to Cirque's tour 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
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
* Didyaknow? -- Facts About Cirque
* Networking -- Posts on Facebook, G+, & YouTube
o) Fascination! Features
* "Crossing Borders: The Multimodal Language of Cirque"
By: James Skidmore - Special Essay Reprint
* "Solar Flare: On-Call with Natasha Hallett"
By: Ian Rents - Special Interview Reprint
o) Subscription Information
o) Copyright & Disclaimer
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CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
Interview with Selloane, vocalist for La Nouba
{Aug.02.2014}
-----------------------------------------------------
Selloane, one of the vocalists for La Nouba, talks about her
start with Disney, working in various productions of The Lion
King, the Cirque environment, and more. Check out this video
interview from Orlando Examiner:
LINK /// < http://youtu.be/Rje9-fLE3Tk >
{ SOURCE: YouTube / Orlando Examiner }
Cool Find: Nouvelle Experience 1992 TV Spot
{Aug.03.2014}
-----------------------------------------------------
NouvelleBaron, a member over at CirqueSpotlight, discovered and
posted this video today a 60-second TV Spot advertising
Nouvelle Experience's 1992 US Tour (at the Mirage). Cool find!
LINK /// < http://youtu.be/wDze5WDjbmE >
BONUS: TV Spot for Cirque du Soleil's 1985 Tour!
LINK /// < http://youtu.be/_5hYq9ejmgk >
{ SOURCE: CirqueSpotlight, YouTube }
New act, new clowns, new laughs at La Nouba
{Aug.18.2014}
-----------------------------------------------------
Not all laughs are created equal. Just ask the new clowns in
Cirque du Soleil's "La Nouba." "When the people smile, I feel
safe. I feel comfortable," says Pablo Gomis López in Spanish.
"When I see all the world laughing, I feel at home."
Gomis López is half of a clown double-act that joined "La
Nouba," Cirque's show at Downtown Disney, this year. Besides
their jobs, the two new performers have other things in common,
such as their nationality they're Spanish and their names.
"I'm Pablo G," says Gomis López. "And I
am Pablo B," says
Pablo Bermejo Medina.
They're both dressed as regular guys, without the outfits and
makeup that transform them into circus clowns, as they converse
in the big, white tent-shaped building that has housed the show
since 1998.
On the subject of laughter, both artists say they want to
generate "laughs that come from deep inside, ones that are
really felt. Chuckles don't do much for us," said Gomis López,
37. He has learned that mouth movements and wrinkles around the
eyes are the giveaways for real laughter.
"As you can see
I have laughed a lot," jokes Bermejo Medina,
pointing out his wrinkles.
In "La Nouba," the two are the first and last characters the
audience sees. They are responsible for two skits and five acts
during the show.
The pair's clowning links the acrobatic feats of "La Nouba" and
"humanizes much of the show," says Bermejo Medina, 38, who is
tall and thin and wears a lilac overcoat. In contrast, his
shorter and stockier companion dresses in orange overalls.
In the show, their relationship is like that of mischievous
brothers as they joke in their own invented language. In fact,
Gomis López and Bermejo Medina have been friends since they met
at the High School of Dramatic Arts of Murcia in their native
Spain more than 15 years ago.
For five years, Gomis Lopez worked on the Cirque du Soleil
touring show "Alegría," which closed in December. Bermejo Medina
joined the tour in its last six months. Two of the five clown
acts in "La Nouba" come from "Alegría." The other three are new
and were created by the pair.
Gomis López, who was born in Alicante, says his family members
are happy that he has work, despite the thousands of miles that
separate them.
"They told me, Don't come back here,' because Spain is in
crisis. Stay there so you can be well,' but in truth, I miss
being in Spain," he says.
He smiles as he explains that he pursued a career in theater to
court a young woman. "In the end," he says, "the theater made me
happier than the woman, and I stayed with the theater."
{ SOURCE: Orlando Sentinel | http://goo.gl/RW4xkR }
KURIOS represents a bold return to early days
{Aug.22.2014}
-----------------------------------------------------
For Cirque du Soleil, what happens in Vegas winds up in Toronto.
Kurios Cabinet of Curiosities, the latest touring show from
the Quebec company, opens at the Port Lands on Aug. 28. It's a
bold return to the early days of Cirque, filled with unique
performers, a handmade style of design and a desire to
entertain, rather than impress.
But the show's origins can clearly be traced to Sin City on a
night 14 months earlier.
June 29, 2013 was Cirque du Soleil's Charles Dickens evening: it
was the best of times, it was the worst of times. At 11 p.m.
that night, the opening night party for Michael Jackson: One was
in full swing at the Mandalay Bay Resort, fuelled by the joyous
realization that the losing streak of mostly unsuccessful shows
that had plagued the company around the world for the past six
years had finally come to an end.
But at that very moment, just a few blocks up the strip at the
MGM Grand, the second show that night of Robert Lepage's KA
finished abruptly and tragically as an acrobat named Sarah
Guyard-Guillot suddenly plummeted 15 metres to the ground and
became the first performer in Cirque's 29-year history to die
during a performance.
It was a cathartic moment for the Quebec company which began as
a group of ragtag street entertainers and had transformed
themselves over three decades into one of the most successful
entertainment empires ever, having played to over 90 million
people around the world, employing 5,000 people from 40
countries and grossing $1 billion in 2013.
Their rags to riches story was the kind of saga people loved to
follow and when they boldly confronted Las Vegas titan Steve
Wynn to have their first show on the Strip, Mystere, done the
way that they wanted it, everyone cheered, especially now that
their Nevada empire has swelled to include eight shows which
play to 9,000 people nightly.
But something went wrong along the way. And that night in Vegas
was a powerful reminder to Cirque that the life of one artist
meant more than all the commercial success in the world.
Around the time that the public became aware that Cirque's
founder Guy Laliberté had become a certified billionaire thanks
to his worldwide troupe of travelling players, it also started
to register that Cirque was producing too often, in too many
places and the law of diminishing returns was starting to set
in.
The numbers tell the story. In the first 15 years of their
existence, they produced 11 shows. The next 15 years saw them
producing 22. And Laliberté's almost Napoleonic desire to
conquer the world led to unsuccessful expeditions into Tokyo,
Manhattan, Chicago and Los Angeles.
"They just started doing too much," says Montreal Gazette
theatre critic Pat Donnelly, a close observer of the Cirque
scene from the very start. "There was an ill-advised foray into
Los Angeles with Iris that lost them a bundle of money. Banana
Shpeel in Chicago and New York just wasn't their field of
expertise.
"And even something that should have been a no-brainer, like
doing Viva Elvis! in Vegas, put the wrong show in the wrong
setting and the marriage didn't work."
Donnelly makes it clear that she believes Cirque has done and
continues to do a lot of impressive work. "They've had
tremendous success, but when you put that many ships out to sea,
some of them are likely to hit a few wrecks." She recalls that
giddy period during 2007-8 when Cirque opened eight shows around
the world and says "I couldn't keep up with them. Nobody could.
I was exhausted. Their publicists were exhausted. Everyone was
exhausted! They just kept throwing money at shows and it didn't
always fix them."
And even though Cirque's CEO, the prudent Daniel Lamarre, told
the Star in 2008 that "we are out to do only one thing; to build
the best show that anyone can build," it was obvious by 2012
that things had gone out of control and a change was made.
That year, for the first time since 2005, only one show opened,
the relatively simple touring production, Amaluna. And although
Michael Jackson: One was very much Cirque in its expansionist,
go-big-or-go-home-celebrity-worshipping mode, the plans for that
show had been generated over five years before and savvy Cirque
minds knew that its success didn't mean they could return to
that path.
Besides closing several money-bleeding properties around the
world, the best signal Cirque could send out to everyone about
their future intentions would be what they produced on the
stage, which is why Kurios is so important.
"Like many other artists, Cirque thrives on adversity," says
Donnelly "and what they did with Kurios was very revealing and
very important."
To direct this crucial show in the organization's development,
the founders of Cirque didn't turn to an international superstar
like Robert Lepage, a noted filmmaker like Francois Girard or a
supernova American director like Diane Paulus, all of which had
been recent choices.
Instead, they trusted the show to Michel Laprise, a hard-working
theatre artist who has been with Cirque for 14 years, but as a
talent scout and a special events designer, not a director.
"Sure it was a gamble to trust an in-house guy," says Donnelly,
"but it was a smart gamble. He understood theatre, he understood
talent, he knew what Cirque was really all about."
That was entertainment and originality.
On the bright May afternoon when Kurios was scheduled to open in
Montreal, Laprise sat down in the theatre to talk about the
show. He's a compact man, vibrant, energetic and throughout the
conversation various performers, technicians and craftsmen came
up to hug him affectionately.
"You see how I work?" he laughed. "The artists are at the core
of everything I do. When I was a young man and came to Cirque, I
was hooked after one month. I knew this was where I wanted to
be."
Laprise admits that he was surprised when Laliberté asked him if
he would direct the next Cirque production at this crucial time
in their history, but he had his answer ready.
"I told him I would love to do it if I could recreate the
emotion I had when I first came to Cirque. It gave a lot of
meaning to my life and I wanted to recapture that."
There's a real closeness to the audience in Kurios, a lack of
that often-pretentious artistic distance that Cirque had thrived
on in recent years and Laprise admits it's 100% intentional.
"I wanted to go back to the feeling we had when we were street
performers. You had to grab people's attention right away. Not
with something spectacular, but with something original. With
talent. I wanted to have something joyful like we have in the
street, because we come from the street."
And so the sets and props of Stéphane Roy are full of wooden
gears and wheels, the costumes of Phillippe Guillotel have a
deliciously handmade steampunk kind of feel, while the music of
Raphael Beau and Bob & Bill brings back every haunting circus
tune you've ever heard.
But it's the artists who make the real difference: a truly
eclectic collection of tumblers, jugglers, acrobats and zanies
whose energy pours off the stage and into your heart.
As Peter Allen once wrote, "Everything old is new again," and
that's the secret behind Kurios. By rediscovering its simple
origins, Cirque du Soleil may just have discovered the way to
make their second 30 years even more triumphant than their
first.
"I think they're back on track," says Donnelly, and the public
seems to be agreeing, with record-breaking attendance greeting
the show's first two runs in Montreal and Quebec City. And now
it's Toronto's turn.
"The audience," says Laprise with a grin. "That's always the
secret ingredient."
{ SOURCE: Toronto Star | http://goo.gl/hcOuFr }
Cirque & SWA Celebrate 50th Anniversary of
The Beatles' Landing in Las Vegas!
{Aug.22.2014}
-----------------------------------------------------
Cast members from The Beatles "Love" by Cirque du Soleil
commemorate the 50th Anniversary of The Beatles' historic Las
Vegas arrival in 1964.
In celebration of the band's first and only visit, cast members
from "Love" took the same route the Fab Four did 50 years ago by
taking a Southwest flight from San Francisco to Las Vegas while
travelers arriving from all over the globe were treated to
surprise performances from the critically acclaimed show inside
McCarran Airport Terminal 1 baggage claim.
"It's hard to believe Beatlemania swept the United States 50
years ago," said Tim Smith, Artistic Director for "Love." "We at
Love' are delighted to keep that spirit alive every night at
The Mirage in Las Vegas. It was natural for us to want to honor
The Beatles and their fans by celebrating the only way we at
Cirque du Soleil know how with exhilarating live performances
that bring the music of The Beatles to life."
Earlier in the day cast members surprised guests at San
Francisco International Airport with a special performance prior
to boarding a Southwest flight to Las Vegas. During the flight,
passengers were treated to in-flight giveaways as they posed for
photos with the cast.
"We love to create special moments onboard our flights," said
Linda Rutherford, Southwest Airlines Vice President
Communication and Outreach. "Celebrating this historic flight
with The Beatles Love' by Cirque du Soleil is a fun and unique
way to leave a lasting memory with our customers."
The celebration continued at McCarran International Airport's
baggage claim as travelers were greeted with pop-up performances
by the "Love"cast. The performances featured a special
arrangement of three of The Beatles' biggest hits including "Get
Back," "Drive My Car" and "Sgt. Pepper," with "Love" performers
dancing on top of the carousels and acrobats flipping on
trampolines as a vintage 1960s Volkswagen Beetle was driven
through baggage claim.
"Love," a Cirque du Soleil creation and co-production with Apple
Corps Ltd., celebrates the musical legacy of The Beatles and is
presented exclusively at The Mirage in Las Vegas. "Love" marks
the first time that The Beatles and Apple Corps Ltd. agreed to a
major theatrical partnership. The project was born out of a
personal friendship and mutual admiration between the late
George Harrison and Cirque du Soleil founder Guy Laliberté.
The Beatles "Love" by Cirque du Soleil opened to rave reviews on
June 30, 2006 and has played to more than six million audience
members. "Love" is the recipient of three GRAMMY Awards.
{ SOURCE: The Empty Lighthouse Magazine | http://goo.gl/9vVZqH }
Backstage at KURIOS, which both defies
logic and is utterly real
{Aug.25.2014}
-----------------------------------------------------
Everyone backstage calls Cirque du Soleil a family, but it's
never more obvious than when director Michel Laprise is around.
It's half an hour before a Friday matinee and so many performers
in makeup come to hug and greet Laprise that his cheeks are
marked with lipstick and green glitter.
Back in Montreal after a month travelling to Japan, China, Las
Vegas and Toronto (where he spent three days dancing at
WorldPride), Laprise is excited to watch his show, Kurios:
Cabinet of Curiosities, again. Throughout its first month this
past spring, the director had been sitting in the audience
almost every day. Today, along with a dark denim jacket
emblazoned with the company's insignia, he wears an
indefatigable smile he is inviting every single person
backstage to a party at his house on the weekend.
Laprise's directorial debut reinvents Cirque du Soleil, the
Canadian entertainment company that is celebrating its 30th
birthday this year. "I know the house, so I know how to
challenge the rules," says Laprise, who started working with
Cirque in 2000, first in casting and then in special events. "I
don't want us to be sleepy; we have to be awake all the time."
Kurios certainly keeps the audience wide awake. Beneath the
yellow- and blue-striped grand chapiteau, the show takes place
in an alternate steampunk reality where a mad scientist
transports an ensemble cast of mechanical, aquatic and humanoid
creatures into his laboratory from a parallel dimension.
Invention plays a starring role, from what was then new
technology, like the airplane, to innovations on circus
classics: a puppet show where a human hand is a creature that
breakdances and rides a hot-air balloon, a big top where the
performers are invisible, and a balancing routine with an anti-
gravity, upside-down twist. Kurios is beguiling because it's
more clever than merely death-defying (although, beware, a few
acts will induce popcorn stress-eating). It captivates with
novelty, evoking that same feeling of wonder Laprise says he
experienced when he spied on a Cirque du Soleil dress rehearsal
as a little boy.
Backstage an ecosystem that supports 107 people on tour, 150
local hires in every new city, and comes complete with
generators, cafeteria, laundry rooms and a medical centre is
equally remarkable. Every effortlessly polished performance
belies the endless practice and personal sacrifice that is a
prerequisite of life with the circus.
For many in the family, joining the company has been a life-long
dream. Australian Nathan Dennis started trampoline when he was
nine, after watching Cirque's Saltimbanco, which ran for more
than 20 years before closing in 2002. "It was never my goal to
go to the Olympics or the World Championships," he says. "It was
always, when I was old enough, audition for Cirque." For Dennis,
the dream came full circle when he was cast in the same show. "I
don't think I celebrated. I think I went straight to the gym to
train," he says, laughing.
The acrobat toured with Saltimbanco for six years before joining
Kurios when rehearsals began in January. In this new production,
he is part of the Acro Net act, which features a net that
stretches across the stage and allows acrobats dressed as
extraterrestrial fish to jump to breathtaking heights, launched
by the weight of other performers, their bioluminescent fins
flapping slightly in the breeze.
Polish performer Lidia Kaminska plays the accordion in Kurios, a
skill she has been perfecting since first picking up the
instrument when she was nine. She toured with Alegria for over
four years before signing on with Kurios. "The show is always
different," Kaminska says. "Seeing the acts is very inspiring
every day it's like real people doing unreal things."
Her own performance is anything but ordinary even on the days
she has two shows, she will practise for an hour or two before
curtain. "It's never enough actually. There's always more
practice to do," she says. Kaminska describes the music played
by the seven-piece band as "gypsy jazz." Along with electrical
and mechanical sound effects gears turning, clocks chiming,
light bulbs buzzing the musicians drive the show, even
literally, conducting a locomotive around the audience.
Sixty per cent of the Kurios performers have been in a Cirque
show before; many left ongoing productions, taking a reduced
training salary for months because they wanted to contribute to
something new. But, at least for Kaminska and Dennis, the
hardest part of the job is maintaining relationships outside of
the Cirque family. Kaminska has a husband who lives in
Philadelphia. Dennis wants to settle down one day. "I think this
will be my last show," he says. "I want to stay here a few
years, but then I want to go somewhere and do personal training
and coaching."
It's also a job that is extremely taxing on the body. Ryan
Murray, an American acrobat in the Acro Net act with Dennis,
hurt a toe during morning rehearsal, and is sitting out today's
show, watching from backstage for the first time in some 80
performances. Greek singer Eirini Tornesaki, whose supernatural
voice drives Kurios, is also sitting out her first show, to rest
her vocal cords. It's unfortunate timing; she is expecting a
friend in the audience.
Laprise says these last few days in Montreal will be the hardest
on everyone. They've been rehearsing since January, and opened
in April without a real break but there will be some rest time
between upcoming stops on their two-year North American tour.
Work days might just be longest for British general stage
manager Alan Parry. "Stage management, we're the first in and
we're the last to leave," he says. Parry joined Cirque 12 years
ago as a stagehand, operating trap doors for the show Dralion,
before working his way up the ranks. "It's more than a job. It's
a life choice; I mean, we live on tour. For the last 10 years, I
haven't had a home anywhere," he says.
In Perry's view, what makes Cirque unique is that the performers
are involved with everything from applying their own makeup to
executing set changes including pedalling out the giant hand
that is the performance pedestal for a group of contortionists
who undulate like sparkling eels.
The cast's wardrobe, by Philippe Guillotel, mixes old-fashioned
design bathing costumes, short trousers and top hats with
fantasy. Full-body robot shells look equal parts alien and
insect; an accordion suit moves and sounds like its musical
model.
Laprise intentionally created a show around a mostly human cast
of characters that's also different from other Cirque shows,
which emphasize the mystical and imaginary. Of course, there are
elements of both in Kurios but it's more about connection.
"When you write a show that is going to last," says Laprise,
"you have to have a language that is universal, that is
profoundly human."
{ SOURCE: Globe and Mail | http://goo.gl/jEjDLh }
Jeff Pearlman on Bill May, Synchro Swimmer in "O"
{Aug.27.2014}
-----------------------------------------------------
Jeff Pearlman has been a fan of Bill May since he was an up-and-
comer at Sports Illustrated back in the late 1990s. Then, May
was a young athlete who competed in synchronized swimming a
sport normally reserved for woman. And he was extraordinary.
Bill was named the U.S. Synchronized Swimming Athlete of the
Year in 1998 and 1999. However, he also battled for respect and
admittance into events. Sometimes he won these fights (he was
allowed to participate in the Goodwill Games). Often (like his
efforts to compete in the 2004 Summer Olympics) he lost.
However, throughout his career, he carried himself with
remarkable dignity and grace. These days, Bill lives in Las
Vegas, where he performs in Cirque du Soleils spectacular
water-based show, O.
# # #
J.P.: You've worked with Cirque du Soleil since Jan. 1, 2005.
This fascinates mehow'd you hear of the gig? Land the gig? And
does it fill the void left when you stopped competitive
swimming?
B.M.: I was actually contacted by Cirque. I work for Cirque du
Soleil's O, which is a water show in Las Vegas. The show was
created with two of the few male synchronized swimmers at the
time, so when a spot opened I was fortunate enough to fit the
requirements. That was actually an advantage of being a male in
synchronized swimming. Due to the fact that there weren't many
male synchronized swimmers, it was gave me an amazing
opportunity to be the only male in one of the most renowned
shows in the world.
However, oddly enough, I only do two synchronized swimming
routines in the show. The rest of the show, I spend my time
moving about the stage as what could be described as a moving
shoulder contortionist character called the "Waiter." Each
Cirque Du Soleil show has a core of characters that appear
throughout the show and oddly bind the show together. One of
them is me.
J.P.: You perform 476 shows per yearwhich seems the equivalent
of Hall and Oates playing Maneater 476 times per year. How does
it not ultimately bore the shit out of you? Doesn't it get dull
and painfully repetitive?
B.M.: At first glance, 476 shows a year seems overwhelming, but
considering all the variables changes the entire outlook. Each
night there is just as much of a show back stage as there is on
stage. Everyone is talking about their daily life, which in the
circus, is very entertaining. Also each and every show has a
different audience with creates a different show or energy. We
are like snowflakes
from a distance the show may look the
same, but in reality, each and every show is beautiful and
unique from the one before.
# # #
Check out Jeff Pearlman's full chat with Bill May here:
LINK /// < http://goo.gl/8NPcpk >
{ SOURCE: Jeff Pearlman.com }
A look at the harried life of Cirque performers
{Aug.28.2014}
-----------------------------------------------------
Cirque du Soleil performers may not sleep in caravans, but
pretty much everything else about that lifestyle is true. They
work long hours, put their bodies on the line every day, and
have to put their families on the back-burner.
It can be a lonely life. But many Cirque performers like Karl
Lecuyer playing the role of Mr. Microcosmos in the production
Kurios, Cabinet of Curiosities, premiering in Toronto Thursday
have made it work. The trampolinist and father of two met his
wife, a contortionist, on his last tour, and has found a way to
start a family without settling down.
"I joined the circus single, then I came back home with a wife
and two kids," he says. "So it's not true that when you're
travelling away from home you can't build a family."
His family is now travelling with him while he continues the
North American tour.
"Sometimes the kids are with one, sometimes the kids are with
the other one," said Lecuyer, who adds that the arrangements can
be challenging, but they're willing to make sacrifices to
continue doing what they love.
After nine years on the road, artistic assistant Sheryl-Lynne
Valensky says Skype is the key to maintaining her romantic
relationship.
"Whenever I can, we get the jet lag song: it's morning, it's
midnight, how was your day
but you get used to it because it
becomes your normal," she says. "When I go to England and John
and I have two weeks together, we pack into those two weeks what
people would normally pack into three months."
The performers get paid "more than a teacher and less than a
professional baseball player," according to Valensky. But it's
not as glamourous as people think. It's physically demanding,
they only go home a few weeks every year, and are otherwise
working six days a week training and performing from morning to
night.
"It's really important to keep a life balance, 'cause if all you
do is eat, sleep, work, you'll go crazy," says Valensky. "I
think the people that stay on tour the longest and love it the
most are the ones that figure out a way to have a life on tour
as well as do all the things that we have to do."
Japanese world yo-yo champion, who goes by the name Black, says
it's a job he wouldn't trade for any other. While others go out
to explore the city on their day off, Black says he uses that
time to focus on improving his act.
"Now I'm a world champion, TED speaker, cirque artist, but
before I grab yo-yo I have no self-esteem or any confidence," he
says. "I got this position now but it comes from a lot of
efforts and a lot of help. So I don't have a lot of extra energy
to enjoy other entertainment for myself."
With 46 artists coming from 13 different countries on the Kurios
tour, Valensky says the most difficult thing for most artists
isn't necessarily jumping and flipping 10 meters into the air.
"Everyone has skills but they've trained a different way, they
warm up a different way, so we have to find common ground 'cause
we all have to work together," she says. "We're kind of like a
mini United Nation. It's all about negotiation, and sometimes
mediation."
Tough as it is, it's the life head coach Alexander Pikhienko has
come to love.
"I'm travelling 40 years now, I just adjust my life, I can't
stay home," he said. "I tried, I switched to the Las Vegas
division, and after two years I decided to go back to tour."
Cirque du Soleil is bringing a bit of reality into their latest
production Kurios, Cabinet of Curiosities.
Set in the late 1800s, the story about imagination and
invention, focuses on a curious man and his journey as he
"unlocks the door to a world of wonders."
Kurios, the Quebec-based performing company's 35th production
since 1984, has gotten rave reviews in Montreal and Quebec City
in the last few months.
Artistic assistant Sheryl-Lynne Valensky says they key is
bringing the production back to its roots.
"We took a real time period and we sort of gave the audience
something almost kind of recognizable to start," she said. "We
give them a little familiarity and then we turn it all upside
down. It goes back to the old Cirque du Soleil where it's really
focusing on the acrobatics and the mechanics, rather than the
technology."
{ SOURCE: Metro News | http://goo.gl/fDxsZ6 }
"O" performer injured during show; "Doing well"
{Aug.28.2014}
-----------------------------------------------------
A Cirque du Soleil acrobat, whose name has not been released,
was injured during a performance of "O" at Bellagio on
Wednesday, August 27th after hitting the stage while dismounting
from the show's Russian Swing act.
In the act, the performers swing back and forth like pendulums
on mounted boards until they gain enough momentum to vault into
the air and land in the water. The show simultaneously employs
three such pieces in "O," with performers alternately being shot
skyward toward the center of the stage.
In Wednesday's show, the artist reportedly missed the water and
instead struck the padded concrete stage. The show stopped for
10-15 minutes, with audience members watching as technicians
treated the artist on stage.
Shortly after the accident, performers returned to the stage and
the show proceeded.
"Immediate emergency response was applied. This morning, the
artist has been released from the hospital and is doing well,"
said Cirque spokeswoman Stephanie Capellas. There was no word on
what exactly happened to cause the injuries, but Cirque
confirmed an investigation is underway. "As with any incident,
Cirque du Soleil will investigate the cause related to it."
{ SOURCES: KTNV, KVVU, Las Vegas Review-Journal, Las Vegas Sun }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, Corteo, Koozå, OVO, Totem & Kurios}
o) ARENA - In Stadium-like venues
{Quidam, Dralion & Varekai}
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:
Washington, DC -- Jul 31, 2014 to Sep 21, 2014
Atlanta, GA -- Oct 3, 2014 to Nov 30, 2014
Miami, FL -- Dec 11, 2014 to Jan 25, 2015
Houston, TX -- Feb 12, 2015 to Mar 22, 2015
Madrid, ES -- May 7, 2015 to Jun 21, 2015
Corteo:
Santiago, CL -- Aug 19, 2014 to Oct 5, 2014
Lima, PE -- Oct 25, 2014 to Nov 9, 2014
Koozå:
Warsaw, PL -- Sep 17, 2014 to Oct 12, 2014
Düsseldorf, DE -- Nov 6, 2014 to Dec 14, 2014
London, UK -- Jan 7, 2015 to Feb 19, 2015
Kurios:
Toronto, ON -- Aug 28, 2014 to Oct 26, 2014
San Francisco, CA -- Nov 14, 2014 to Jan 18, 2015
Seattle, WA -- Jan 29, 2015 to Feb 22, 2015
Denver, CO -- TBA
Calgary, AB -- TBA
Ovo:
Osaka, JP -- Jul 17, 2014 to Nov 2, 2014
Nagoya, JP -- Nov 20, 2014 to Feb 1, 2015
Fukuoka, JP -- Feb 20, 2015 to Apr 5, 2015
Sendai, JP -- Apr 23, 2015 to Jun 7, 2015
Totem:
Auckland, NZ -- Aug 22, 2014 to Sep 28, 2014
Syndey, AU -- Oct 28, 2014 to Jan 11, 2015
Melbourne, AU -- Jan 21, 2015 to Feb 15, 2015
Brisbane, AU -- Apr 10, 2015 to Apr 26, 2015
Adelaide, AU -- Jun 11, 2015 to Jul 5, 2015
Perth, AU -- Jul 31, 2015 to Aug 16, 2015
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
Quidam:
Athens, GR -- Sep 20, 2014 to Sep 28, 2014
Thessaloniki, GR -- Sep 30, 2014 to Oct 5, 2014
Zurich, CH -- Oct 15, 2014 to Oct 19, 2014
Rome, IT -- Oct 22, 2014 to Oct 26, 2014
Bologna, IT -- Oct 30, 2014 to Nov 2, 2014
Florence, IT -- Nov 6, 2014 to Nov 9, 2014
Pesaro, IT -- Nov 14, 2014 to Nov 16, 2014
Milan, IT -- Nov 19, 2014 to Nov 23, 2014
Turin, IT -- Nov 27, 2014 to Nov 30, 2014
Paris, FR -- Dec 2, 2014 to Dec 7, 2014
Lille, FR -- Dec 10, 2014 to Dec 14, 2014
Lisbon, PT -- Dec 18, 2014 to Dec 28, 2014
Santa Cruz de Tenerife, ES -- Jan 3, 2015 to Jan 11, 2015
Bratislava, SK -- Feb 5, 2015 to Feb 8, 2015
Budapest, HU -- Feb 13, 2015 to Feb 15, 2015
Vilnius, LT -- Mar 18, 2015 to Mar 22, 2015
Minsk, BY -- Mar 26, 2015 to Mar 29, 2015
Dralion:
Palma de Mallorca, ES -- Aug 28, 2014 to Sep 6, 2014
Albany, NY -- Oct 2, 2014 to Oct 5, 2014
State Collge, PA -- Oct 8, 2014 to Oct 12, 2014
Wilkes-Barre, PA -- Oct 15, 2014 to Oct 19, 2014
Charlottesville, VA -- Oct 22, 2014 to Oct 26, 2014
Sault Ste. Marie, ON -- Oct 29, 2014 to Nov 2, 2014
Fort Wayne, IN -- Nov 5, 2014 to Nov 9, 2014
Bloomington, IL -- Nov 12, 2014 to Nov 16, 2014
Cedar Rapids, IA -- Nov 19, 2014 to Nov 23, 2014
Duluth, MN -- Nov 26, 2014 to Nov 30, 2014
Kearney, NE -- Dec 3, 2014 to Dec 7, 2014
Regina, SK -- Dec 10, 2014 to Dec 14, 2014
Lethbridge, AB -- Dec 17, 2014 to Dec 21, 2014
Kamloops, BC -- Dec 24, 2014 to Dec 28, 2014
Prince George, BC -- Dec 31, 2014 to Jan 4, 2015
Fairbanks, AK -- Jan 8, 2015 to Jan 11, 2015
Anchorage, AK -- Jan 14, 2015 to Jan 18, 2015
** Closing, Anchorage, AK - Jan 18, 2015 **
Varekai:
Portland, ME -- Sep 3, 2014 to Sep 7, 2014
Philadelphia, PA -- Sep 10, 2014 to Sep 14, 2014
Orlando, FL -- Sep 17, 2014 to Sep 21, 2014
Estero, FL -- Sep 24, 2014 to Sep 28, 2014
Highland Heights, KY -- Oct 16, 2014 to Oct 19, 2014
Roanoke, VA -- Oct 22, 2014 to Oct 26, 2014
Hershey, PA -- Oct 29, 2014 to Nov 2, 2014
Columbia, SC -- Nov 5, 2014 to Nov 9, 2014
Hampton, VA -- Nov 12, 2014 to Nov 16, 2014
New Orleans, LA -- Nov 19, 2014 to Nov 23, 2014
Sioux Falls, SD -- Dec 11, 2014 to Dec 14, 2014
Milwaukee, WI -- Dec 18, 2014 to Dec 21, 2014
Minneapolis, MN -- Dec 23, 2014 to Dec 28, 2014
Colorado Springs, CO -- Dec 31, 2014 to Jan 4, 2015
St. Louis, MO -- Jan 7, 2015 to Jan 11, 2015
Wichita, KS -- Jan 14, 2015 to Jan 18, 2015
---------------------------------
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
2014 Dark Dates:
o September 4 - 12
o November 5 - 7
Added performances in 2014:
o December 26
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 10:00pm
2014 Dark Dates:
o October 5
o December 1 - 16
Added performances in 2014:
o June 3
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
2014 Dark Dates:
o September 14 - 22
o November 2 - 5
o December 7 - 9
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Friday through Tuesday, Dark Wednesday/Thursday
Two Shows Nightly - 7:30pm and 10:00pm
2014 Dark Dates:
o August 20-September 4
o October 21
o December 10-18
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
2014 Dark Dates:
o September 21-29
o December 2
Added performances in 2014:
o December 28
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Thursday through Monday, Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
2014 Dark Dates:
o October 2
o December 2 - 17
Added performances in 2014:
o December 31
BELIEVE:
Location: Luxor, Las Vegas (USA)
Performs: Friday through Tuesday, Dark: Wednesday/Thursday
Two Shows Nightly - 7:00pm and 10:00pm
NOTE: Children under the age of 12 must be accompanied by
an adult. Children under the age of five are not permitted
into the theater.
2014 Dark Dates:
o September 1 - 8
o November 9 - 17
ZARKANA:
Location: Aria, Las Vegas (USA)
Performs: Friday through Tuesday, Dark: Wednesday/Thursday
Two Shows Nightly - 7:00pm and 9:30pm
2014 Dark Dates:
o September 3 - 11
o November 4
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark: Thursday/Friday
Two Shows Nightly: 7:00pm and 10:00pm
2014 Dark Dates:
o September 24 - 26
o November 13 - 28
Added performances in 2014:
o December 26
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)
Premiere will be held on Saturday, November 8th at 9:00pm
Prices:
o) VIP Show Dinner & Champagne [RED] $MXN 2,970.00
o) Show Dinner and Champagne [BLUE] $MXN 2,178.00
o) Show and Champagne [GREEN] $MXN 1,452.00
o) Show Only [ORANGE] $MXN $1,056
o) High Stools (Show Only) [PURPLE] $MXN 858.000
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) Didyaknow? - Facts About Cirque
o) Networking -- Posts on Facebook, G+, & YouTube
---------------------------------------
DIDYAKNOW?: Facts About Cirque
---------------------------------------
o) Did you know Dralion has more than 50 different styles of
masks, hats and wigs?
o) Did you know that KA maintaines over 300 pairs of shoes?
o) Did you know the La Noubae wardrobe department handles over 3000
costumes and headpieces every day? Most of the 65 artists
performing for the show wear three different costumes!
o) Did you know there are 26 projectors that display video content
on the stage and around the proscenium in Michael Jackson ONE?
o) Did you know Mystère's Alice the Snail weights over 2,000 pounds,
and is pushed by four carpenters?
o) Did you know that each performer in "O" has an average of 5
different looks they wear on stage?
o) Did you know? Here are some interesting facts about the set
design of OVO: The Wall measures 60ft wide by 20ft tall. It is
supported only on the sides to allow a floor with built-in
trampolines to slide in and out like an enormous drawer. The
larger of the two skins covering the world of OVO measures 75ft
wide by 50ft tall. Three long poles weighing 80lb evoke dandelion
stalks. Their spines allow artists to climb them like ladders.
The waterfall uses dry ice to recreate water and the morning dew.
The egg, which is inflatable, measures 28ft wide by 22ft tall.
o) Did you know technicians use 204 moving lights, 1000 dimmers
and one finger to control all the lighting in LOVE.
o) Did you know that each of the Slippery Surface costumes has
80 leaves? Varekai's wardrobe team has to steam approximately
1,200 leaves before every show! They are steamed one by one and
all by hand!
---------------------------------------------------
NETWORKING: Cirque on Facebook, YouTube & Twitter
---------------------------------------------------
{Compiled by Keith Johnson}
---[ AMALUNA ]---
{Aug.01}
THANK YOU DC/MD/VA for making our Premiere a HUGE success last
night! The DC area is a-buzz with Amaluna talk. If you are in
the National Harbor, MD area this weekend, check out our
#WeekOfAmalunaDC contest, whereby fans need to find the four
Amaluna characters hidden throughout the complex and post your
photos to win tickets! Contest details can be found here:
LINK /// < http://goo.gl/qgVnMJ >
LINK /// < http://goo.gl/S2Sff0 >
{Aug.14}
We are working on an exciting project with Washington Life
Magazine today... Having a lot of fun with the Amazons!
LINK /// < http://goo.gl/EFZvEv >
{Aug.14}
Thanks for an amazing day Washington Life Magazine, we cannot
wait to see the finished product!
LINK /// < http://goo.gl/s88MkW >
{Aug.23}
Thanks Joe McAdam for this selfie collage!
LINK /// < http://goo.gl/XJklCV >
---[ CORTEO ]---
{Aug.04}
Último dia en buenos aires ! Muchas gracias por todo !
Los vamos a extrañar!
LINK /// < http://goo.gl/ExjbCA >
{Aug.13}
Fantástica Conferencia de prensa em Lima! Vengan a
disfrutar de la magia de Corteo....Les esperamos a partir
del 25 de Octubre.
LINK /// < http://goo.gl/4Vp3gA >
{Aug.16}
Los artistas ya llegaron a Santiago y esperamos verlos en
la Gran Carpa de Corteo en Ciudad Empresarial!!
LINK /// < http://goo.gl/a0rVhQ >
{Aug.18}
Un vistazo al entrenamiento de Bouncing Beds!! Mañana Gran
Estreno en Chile de Corteo!!!
LINK /// < http://goo.gl/KFFWPQ >
{Aug.19}
Grandes figuras asistieron a la Avant Premiere de Corteo
hoy en Santiago!
LINK /// < http://goo.gl/L9GyJ3 >
{Aug.22}
Fotografia del backstage antes del primer dia de doble
función en Santiago!
LINK /// < http://goo.gl/FUtpe4 >
{Aug.23}
El Nuevo equipo de merchandising en Santiago los invitan
a descubrir los productos exclusivos que tenemos para
ustedes! Visitanos!
LINK /// < http://goo.gl/WuPVPs >
{Aug.27}
¡Ensayando un número aéreo para la función de esta noche!
LINK /// < http://goo.gl/zr7FhL >
---[ DRALION ]---
{Aug.02}
Our King Bamboo took a quick selfie in between shows in Las
Palmas. Can you guess what instruments he plays in the show?
(Answer: Percussion)
LINK /// < http://goo.gl/1Dq9Ti >
{Aug.06}
Who said slinky's are only a game? Did you know some of our
costumes are made with some unusual items? In this photo,
Jordyn from our Wardrobe team is replacing the slinky from
the Dralion's blanket!
LINK /// < http://goo.gl/4ZgCcl >
{Aug.07}
Dralion costumes have changed from Big Top (left) to Arena
(right). Can you highlight the differences of each costumes?
LINK /// < http://goo.gl/BohoIj >
{Aug.16}
Dralion cast and crew arrived in Bilbao and took a little
time to be tourists before the start of our shows.
LINK /// < http://goo.gl/8Js3n0 >
{Aug.18}
Es el primero dia en Bilbao Arena ! Estamos en Bilbao, Spain
hasta el Domingo, 24 de Agosto, 2014.
LINK /// < http://goo.gl/lzgV4t >
{Aug.20}
Getting ready for tonight's show in Bilbao.
LINK /// < http://goo.gl/1PqcTR >
{Aug.21}
Dralion en Mallorca desde el Jueve 28 de Agosto.
Nos vemos pronto.
LINK /// < http://goo.gl/Z6rmKZ >
{Aug.24}
This is the view our singer has during Naya (hand balancing
act) every night. How cool is that?
LINK /// < http://goo.gl/yImTB3 >
{Aug.28}
Throwback from Dralion's Bamboo Poles act rehearsing at
Cirque du Soleil Headquarters in Montreal in 2010.
LINK /// < http://goo.gl/68sX17 >
{Aug.30}
Ready to go on stage, our Little Buddha is wondering if her
make-up is alright. What do you think?
LINK /// < http://goo.gl/HSGkKP >
---[ JOYÀ ]---
{Aug.14}
From sketch to reality: get to know the Director of JOYÀ.
LINK /// < http://goo.gl/BDlqdl >
---[ KOOZA ]---
{Aug.12}
We wish a fond farewell and continued success in his future
endeavors to Drummer Ben Todd who performed his final show
with KOOZA last week!
LINK /// < http://goo.gl/DDc1gf >
{Aug.14}
The High Wire team taking a moment for a group selfie!
LINK /// < http://goo.gl/dk6VoM >
{Aug.16}
Caught backstage!
LINK /// < http://goo.gl/HCkzYp >
{Aug.19}
Check out this behind the scenes photo from a recent
photoshoot with DHL. Do you know which act shes from?
(Answer: Contortion)
LINK /// < http://goo.gl/E0qXIV >
{Aug.21}
Our guests in Port Aventura are loving the KOOZA photo
wall! Dont miss your chance to take a photo against it!
LINK /// < http://goo.gl/2Rehof >
{Aug.25}
Sunset on site - what a beautiful view! Come out and join us!
LINK /// < http://goo.gl/pmMR5L >
{Aug.27}
Caught backstage! Do you know what act they are practicing?
LINK /// < http://goo.gl/3Fmfxf >
---[ KURIOS ]---
{Aug.07}
Were you one of the happy passers-by who have had the chance
to see the characters of KURIOS by Cirque du Soleil in action
on the Dufferin Terrace of Château Frontenac during the photo
shoot for the Sun, the newspaper of the capital? Share your
photos with us!
LINK /// < http://goo.gl/h4Ngx4 >
{Aug.16}
A video of our passage in the beautiful city of Quebec.
LINK /// < https://www.youtube.com/watch?v=Js4l_C9WFbY >
---[ LA NOUBA ]---
{Aug.13}
Benoit Glazer, a musician from our show, has transformed his
home in a concert hall. Come see the documentary called The
White House Overture, which will be presented at the Montreal
World Film Festival / Festival des Films du Monde de Montreal
- FFM on 23 and 24 August.
LINK /// < http://vimeo.com/88445491 >
{Aug.14}
Six heads are better than one! Here is a look at a 6 stage
technique for casting an artists head.
LINK /// < http://goo.gl/gAoUwy >
---[ MJ IMMORTAL ]---
{Aug.03}
The IMMORTAL ladies taking a break for a selfie.
LINK /// < http://goo.gl/OZgiIt >
{Aug.05}
How do IMMORTAL artists keep busy on a 6 hour bus transfer
from Lafayette to Cedar Park? Check it out!
LINK /// < http://goo.gl/UbdwM4 >
{Aug.08}
Houston marks our very last city in the USA and the last city
for Fanatic character Tomohiko Tsujimoto! Before he takes the
IMMORTAL stage for the final time, Tomo shares why he loves
Michael Jackson. "I love MJ's fashion, his dancing, singing,
and most importantly his high energy. His performances are so
passionate and I remember watching them and always feeling
excited!"
LINK /// < http://goo.gl/3aWR9Q >
{Aug.12}
As we embark on the final cities of IMMORTAL, our hearts are
so full of appreciation to everyone who came out to see our
second tour of the US and to all the fans across the world!
LINK /// < http://goo.gl/f9KWkS >
{Aug.14}
2.5 weeks until the final IMMORTAL performance, so we're
taking a look back at some of the fun times had. Back in
2011, there was a group of artists in #Montreal where it
all began.
LINK /// < http://goo.gl/21mT56 >
{Aug.15}
The original Tree Tribe.
LINK /// < http://goo.gl/tz8hWi >
{Aug.17}
Dancers are Singers, Singers are Dancers. A few of the
multi-talented IMMORTAL artists show off how they spend
their free time. Don't miss your chance to see these
artists and more perform live in Mexico City and Guadalajara!
LINK /// < http://goo.gl/qim1lj >
{Aug.18}
Dancer Shondra Leigh talks about Michae lJackson and her
experience on IMMORTAL: "As this journey ends, most of
all I am thankful for MJ. Without his artistry & genius,
this lifetime experience wouldn't have existed! 3 years of
hard work, dedication, sweat, tears, & most of all laughter
with countless memories."
LINK /// < http://goo.gl/kJCMFj >
{Aug.20}
The cast and crew arrived in Mexico City and even got a few
days off to experience the city like visiting the
Teotihuacan Pyramids! Now its back to work as they prepare
for the Mexico City premiere TONIGHT!
LINK /// < http://goo.gl/cmJTVY >
{Aug.21}
Drummer Jonathan 'Sugarfoot' Moffett back in Montreal during
rehearsals.
LINK /// < http://goo.gl/vDO6aT >
{Aug.23}
A quick Cirque Selfie from Dancers Tammy To and Davi Lorenzo
before they get ready for a 2-show day here in Mexico City!
LINK /// < http://goo.gl/1UekO9 >
{Aug.24}
As we near the end of the tour it was great to welcome a visit
from Cirque Founder Guy Laliberté!
LINK /// < http://goo.gl/DctyAH >
{Aug.26}
In honor of our very last travel day yesterday, here's a look
back at our last Bus Transfer and another Bus Battle created
by the talented cast of IMMORTAL.
LINK /// < http://goo.gl/pgJgwp >
---[ MJ ONE ]---
{Aug.06}
In celebration of Michael Jacksons birthday on August 29th,
were knocking you off your feet with a daylong celebration
filled with special fan events, added performances, and more.
LINK /// < http://goo.gl/tK4S3a >
{Aug.28}
The cast of is so excited about the special performances of
the show this Friday for Michaels birthday that they decided
to create a special video for A Place With No Name, the new
single from Michaels album. Check it out:
LINK /// < http://smarturl.it/APWNNone >
LINK /// < http://goo.gl/3rdf7p >
{Aug.31}
Never Can Say Goodbye! The cast of Michael Jackson ONE is
sending love and best wishes to THE IMMORTAL World Tour
very last performance!
LINK /// < http://www.youtube.com/watch?v=LA4RHStS7fQ >
---[ OVO ]---
{Aug.03}
OVO needs your help! Hello OVO fans. The OVO fan page will
soon reach 60,000 fans but we are not quite there yet. We need
your help to reach that magic number. We would like you to
share our page with your friends and invite then to LIKE IT.
Master Flipo, the Ladybug and the Foreigner count on you guys!
LINK /// < http://goo.gl/mcqxio >
{Aug.06}
OVO Throwback Thursday - This week: Our original Fleas!
LINK /// < http://goo.gl/pxXD9H >
{Aug.13}
Do you think their makeups are ok?
LINK /// < http://goo.gl/5zBL2T >
{Aug.14}
The Fleas are getting ready for Act 2... And a nice photobomb
from our White Spider...
LINK /// < http://goo.gl/X6QXMA >
{Aug.17}
Here's a beautiful photo report from Sankei Newspaper about
OVO in Osaka. Stunning pictures!
LINK /// < http://goo.gl/DxEwPV >
{Aug.19}
Today, our wonderful Kiki is leaving us after 5 beautiful
years on OVO. Thank you for all those great moments on and
off stage. Good luck with your new adventure!
LINK /// < http://goo.gl/GLg6r8 >
{Aug.20}
OVO Throwback Thursday - This week: Lee learning how to
manipulate the Creatura during the creation of OVO in
Montreal. Did you know that he is still our Creatura?
LINK /// < http://goo.gl/QSGcwl >
{Aug.22}
Even bugs need to stay in good shape!
LINK /// < http://goo.gl/qkGllx >
{Aug.25}
The OVO artists were pretty busy this morning with a photo
shoot for the new version of the Japanese Souvenir Program.
Make sure you get your copy!
LINK /// < http://goo.gl/JwWJXC >
{Aug.28}
Do you remember the OVO Hot Air Balloon? Did you have a
chance to see it fly over your city?
LINK /// < http://goo.gl/WQ2JUX >
LINK /// < http://goo.gl/5ZZVGW >
LINK /// < http://goo.gl/XEZtQ8 >
{Aug.30}
Getting ready for the show. Nice view of theartistic tent
from the top of the training wall.
LINK /// < http://instagram.com/p/sUCwqWqfg9/ >
---[ QUIDAM ]---
{Aug.02}
Our Stage Manager and Sports Medecine Therapists
LINK /// < http://goo.gl/IrRYvd >
{Aug.04}
What is this colorful item used for?
LINK /// < http://goo.gl/oyaqU2 >
Answer: These colorful adjustable dumbbells are used to
keep Viktor (and the rest of the cast & crew) in GREAT shape!
LINK /// < http://goo.gl/gKe5o7 >
{Aug.22}
Since you've seen Quidam, we're guessing you have - like us -
Incantation in mind. Check out the video clip to make sure
we never forget that hair-raising song!
LINK /// < https://www.youtube.com/watch?v=eA56uMPGCrg >
---[ TOTEM ]---
{Aug.12}
The cast just started rehearsals at Alexandra Park in New
Zealand! After 5 weeks off, it is time to put the routines
back into the bodies to get ready for our Auckland Opening
Night!
LINK /// < http://goo.gl/slCYZU >
{Aug.15}
Hey Auckland, here is a preview of one of our beautiful
scenes - the Love Birds! 6 days until Opening Night at
Alexandra Park!
LINK /// < http://goo.gl/fOnAVB >
LINK /// < http://goo.gl/BaAWS0 >
{Aug.15}
While TOTEM was transferring from Vancouver to Auckland,
juggler Thom Wall took the time to participate to the
International Jugglers' Association Individual Stage
Championships. This event is considered to be the "world
championships" of the juggling community. The number
presented by Thom was a mouthstick number, where he
balanced objects on the sharp of a knife he held between
his teeth. Thom was awarded a bronze medal, making it
the first medal a mouthstick act has won in the IJA's
67-year history. Congratulations!
{Aug.17}
Here is another preview of one of the TOTEM scenes - step
into the harvest season with the Unicycles with Bowls act!
LINK /// < http://goo.gl/epFT1F >
LINK /// < http://goo.gl/P0WuHb >
LINK /// < http://goo.gl/UIrr60 >
LINK /// < http://goo.gl/KBCgL3 >
{Aug.18}
The cast and crew participated in a traditional Maori Powhiri
Welcome celebration today under the Big Top in Auckland, New
Zealand! A soul-touching moment for everyone!
LINK /// < http://goo.gl/5K14sd >
{Aug.21}
Only a few hours left before our Auckland, NZ Premiere at
ALEXANDRA PARK! Our props technician Keiko Lemon is applying
the magic fluorescent paint on the Russian Bars to make them
lit up under black lights! We cannot wait to embark New
Zealand audiences on our fantastic journey!
LINK /// < http://goo.gl/yk1mpR >
LINK /// < http://goo.gl/gyLxdB >
LINK /// < http://goo.gl/m9NSUI >
{Aug.24}
We are in full rehearsal at New Zealand Fashion Week for the
Opening Gala tonight!
LINK /// < http://goo.gl/Uo4gj4 >
LINK /// < http://goo.gl/YiD8zx >
{Aug.27}
TVNZ Breakfast is live from our Big Top this morning with
Sam learning all the secrets!!
LINK /// < http://goo.gl/yKb0tU >
{Aug.27
Unicyclist Hao Yuting catching 5 bowls at New Zealand Fashion
Week this past Monday!
LINK /// < http://goo.gl/JywGIW >
{Aug.28}
Through the magic of video projections and clever lighting
design, TOTEM takes the audience on a fascinating journey
through time and various parts of the World. Step into the
Big Top and let yourself be transported by the intimate
experience!
LINK /// < http://goo.gl/xWCDMN >
LINK /// < http://goo.gl/MhGqFN >
LINK /// < http://goo.gl/jztibw >
---[ VAREKAI ]---
{Aug.06}
Varekai is taking a break in between segments at New Day
Cleveland! Tune in to watch our characters in studio and
one of the anchors' transformation into a character!
LINK /// < http://goo.gl/izqaBA >
{Aug.06}
Cleveland Pre-Show Parade (Wednesday)
LINK /// < http://goo.gl/jOml4C >
{Aug.07}
Cleveland Pre-Show Parade (Thursday) (22 photos)
LINK /// < http://goo.gl/svsYWV >
{Aug.13}
Hey Philly! Does this look familiar? Some Varekai characters
landed in Philly and are discovering it - Cirque style!
LINK /// < https://www.youtube.com/watch?v=K7LdynZv0CY >
{Aug.19}
Varekai is in Atlantic City and some of our characters went
exploring! We even tried out their famous saltwater taffy.
LINK /// < http://goo.gl/T4FEao >
LINK /// < http://goo.gl/2TQCfe >
LINK /// < http://goo.gl/cGM7mU >
LINK /// < http://goo.gl/QgD5Uf >
LINK /// < http://goo.gl/bjTSmG >
{Aug.20}
Pre-Show Parade Atlantic City - Wednesday (20 photos)
LINK /// < http://goo.gl/kw1Sya >
{Aug.21}
A tribute to our one and only drummer Paul Bannerman who has
been performing on the Varekai stage for over 12 years and
for 4,246 shows and never missing one! Congrats Paul!
LINK /// < http://goo.gl/wuREZc >
{Aug.23}
Varekai is still actively exploring Atlantic City. Yesterday,
we visited the Absecon Lighthouse and met Bill at the very
top of the 228 stairs. Thanks to the staff for the t-shirts!
LINK /// < http://goo.gl/vv1ccP >
LINK /// < http://goo.gl/I6IAm7 >
LINK /// < http://goo.gl/dqUuF9 >
{Aug.23}
Caught lingering
LINK /// < http://goo.gl/Zt7d7G >
{Aug.27}
WPIX's Lisa Mateo is on site outside the Prudential Center
learning some tricks and getting ready to watch a mini
Varekai performance. Stay tuned !
LINK /// < http://goo.gl/5W6x6x >
{Aug.27}
If you missed our performance this morning on WPIX or weren't
able to tune in, you can check out both of our segments online
here!
LINK /// < http://goo.gl/sR0pfO >
{Aug.28}
From our Big Top days! We hardly see the Algae characters
in today's version of Varekai, although every so often, they
make an appearance. Do you remember which act they could be
found in? (Answer: Slippery Surface)
LINK /// < http://goo.gl/hkFhQ2 >
{Aug.30}
Sonrisa Roberto!! How do you say "smile" in your language?
LINK /// < http://goo.gl/usMYsG >
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "Crossing Borders: The Multimodal Language of Cirque"
By: James Skidmore - Special Essay Reprint
o) "Solar Flare: On-Call with Natasha Hallett"
By: Ian Rents - Special Interview Reprint
----------------------------------------------------------
"Crossing Borders: The Multimodal Language of Cirque"
By: James Skidmore - Special Essay Reprint
----------------------------------------------------------
Every once in a while we find unique and interesting things about
Cirque du Soleil in various pockets of the internet. Sometimes the
find is nothing more than a classic piece of merchandise the company
released in its early days (usually on eBay), other times it's a video
or other piece of media that's intriguing for its rarity (usually
found on YouTube), and still other times it's an article, or some
other kind of text, that comes across our desks which piques our
interest. That's the case with the text below.
"Crossing Borders: The Multimodal Language of Cirque du Soleil" is an
essay written sometime in 2001-2002 by a student at the University of
Toronto. In it the writer examines the nature of Cirque du Soleil and
how it is able to find success in lands with different cultures and
languages. It's an interesting read! Therefore, we re-print it below.
The Abstract:
Hamburg, Copenhagen, Zurich, Hong Kong, Tokyo, Singapore, Toronto,
Montreal. Seven cities, seven cultures, a plethora of languages. One
common bond, which exists between them, is that they have all welcomed
the Cirque du Soleil big top to perform within their boundaries. As
Cirque du Soleil has crossed the borders from country to country,
continent to continent, the construction of their circus has changed
imperceptibly, if at all. Yet, culturally competent spectators
attending a Cirque du Soleil performance anywhere in the world are
assumed to be capable of deciphering the morphological symbols found
within the circus ring. This is because the "language" of this New
Circus has not been based on a spoken word model, but rather on a
multimodal construct, which relates to the audience through visual and
aural signs. The root of the language being created is often in the
very origins of the circus acts being performed, many of which find
their ancestry in Asian acrobatic or European circus traditions. This
act based sub-structure has been enhanced through a conscious
fashioning of the mise en scène, which has allowed Cirque du Soleil to
relate themes and stories which have consisted of several modes of
communication. Specifically, these acts are decodable through the
reading of the lighting, costumes, make-up, props, and set design in
conjunction with the soundscape of sound effects, garbled language,
music and song. This paper will examine the multimodular construction
of a Cirque du Soleil act, and how it communicates to the
international spectator.
The Essay:
Cirque du Soleil was created by a small group of street performers in
Baie St. Paul, Quebec in 1982. Modelling themselves after a form of
European circus known as New Circus, Cirque du Soleil fashioned a
circus without animals or death-defying acts. In lieu of elephants,
camels, and perilous routines they built productions dependant on
themes and motifs, which tell a story or convey an idea.
The concepts portrayed within a Cirque du Soleil performance are not
complex, typically the topics have been about releasing emotions or
freeing the imagination. What is complicated, however, is the
multimodal performance language created by Cirque du Soleil.
Spectators exiting their circuses have been overheard saying it was a
wonderful show, but I dont understand what it meant. This statement
infers that the circus performance they witnessed held meaning, but as
audience members they were unable to interpret the message or theme
presented within the circus ring. Therefore, these spectators did not
possess the necessary tools needed to comprehend the signs and
conventions they had witnessed in the show.
The language of a Cirque du Soleil performance has rarely been based
on a spoken word model, but rather as a multimodal construct, which
relates to the audience through visual and aural signs and
conventions. Through a conscious fashioning of their mise en scène,
Cirque du Soleil has been able to relate themes to their spectators by
employing various morphological elements found within a modern circus
ring. This includes the lighting, costuming, make-up, props, set
design, soundscape, sound track, fanciful language, choreography, and
style of performance. As with any verbal mode of communication, the
multimodal language of Cirque du Soleil is only comprehensible to an
audience that has been provided with a model to apply in the
interpretation of their performance text. The version being presented
in this paper examines the use of signs or conventions within specific
performances, acts, and shows, and explains how signs and use of
conventions inform the spectator as to what theme or motif is
presented within the circus ring. It utilizes a basic semiotic model,
which begins with the assumption that the circus performance has a
message to convey. Logically it follows that it is the responsibility
of the circus artist to communicate meaning to the spectator, whose
task it is to decode or interpret the performance. The model of
semiotic analysis utilized is one defined by Fernando de Toro in his
book Theatre Semiotics. This paper will focus on two aspects of his
paradigm: the use of conventions and the types of signs, which operate
within a performance space.
Toro defines three types of conventions: general, particular, and
unique (Toro 55-56). General conventions assume the spectator
realizes that he or she is situated within a performance arena,
watching an artifice, which is distinct from the outside or real
world. It asks the spectator accept certain parameters delineated by
the circus artist and ring as relevant to this fictional construct.
A circus takes place within a tent, under stage lighting these are
general conventions that an audience must believe in order to accept
what takes place in the performance. General conventions ask an
audience to suspend their disbelief, they are put in place to
distinguish a circus or theatrical event from an occurrence in the
exterior world.
Particular codes, in the case of the circus, include the circus ring,
the ringmaster, and the clown. These are signs of the circus style
and there is either an expectation for them to exist in this genre, or
a prior knowledge of their association in this specific artistic
forum. The circus spectator is not surprised to see characters
wearing red noses, for example, and identifies them as clowns.
Unique conventions arise out of specific performances and are only
understood through their context. Therefore, they rely on other signs
surrounding them to build meaning and may even be in the form of other
unique conventions. In one Cirque du Soleil production, Alegría, the
lighting and costuming were combined in order to allow for an
interpretation of a series of unique conventions displayed in the
trapeze routine. Gobos (metal patterns that create lighting patterns)
were placed in lighting instruments, which projected the image of bars
over the trapeze display. This was both appropriate and informative,
as it suggested to the spectator that the acrobats were caged. This
metaphoric lighting motif was additionally supported by the other
morphological component mentioned, the costumes, which further marked
the acrobats as birds. This was accomplished through the use of
feathers, costume pieces shaped as wings, and aviator caps worn on the
head. The aviator cap served as an index (see below), which was
easily identifiable to the spectator. It was literally the key
object, which identified this collection of otherwise unique
conventions. The spectator related to the caps as headwear worn by
pilots from the age of Amelia Earhart, Charles Lindbergh, or World War
I aces. The trapeze artists, therefore, were identified as flying
things or acrobats that flew. Upon making this connection, the other
less familiar signs became identifiable as other icons and symbols of
flight. The crocheted costume piece flung over the shoulders, for
instance, was recognizable as a symbolic representation of wings. The
combination of the performers dressed as birds and the juxtaposition
of lighting in the form of a coop, coupled with an aerial act, allowed
the spectator to read the trapeze artists as birds in a cage. Thus, a
unique convention cannot be understood in and of itself, but only
through its relationship with other signs, which surround it in the
circus ring.
Signs on stage (or in the circus ring) are broken down into three
categories by Toro: the icon, the index and the symbol (Toro 73-77).
The easiest way to understand these three terms is through a simple
example employing the clown nose (Toro 70). The red nose is an icon
that substitutes for a real nose, though in a representative fashion.
The clown's nose, therefore, is recognizable as the facial feature
that it stands in for on the face of the clown. Concurrently, it acts
as an index revealing that the character wearing the red nose is a
clown. Spectators are familiar with the convention that a clown wears
a red nose and so when they see a red nose on a performer they are
able to identify this character as a clown. Red noses can also be
read as symbols of humour since a clown is considered to be a comedian
who provokes and illicit laughter from the circus audience. The red
nose, which identifies a performer as being a clown, also indicates
that the entertainer is to be laughed at by the audience. Icons can be
either indexes or symbols, though a symbol or an index cannot be an
icon. Symbols can also be indexes, though the reverse is not true.
The interpretation of icons, indexes, or symbols in the circus, as in
other performing arts, demands an active engagement between the
observed sign, the object to which it relates, and the interpreter of
the sign. A relationship must exist, or be created, between the
spectator and the sign on stage in order for it to be understood.
Thus, ongoing and active decodification of symbols within the Cirque
du Soleil circus ring, as well as of the theme or message presented is
necessary for comprehension of the sign. A context or framework
within which to place the various morphological objects viewed on
stage is necessary in the deciphering of symbols illustrated within
this paper. A structure can be provided for the spectator by studying
the relationship of one sign to another within a performance.
Alternatively, it may be obtained through prior experience of specific
information, which allows interpreters or spectators to read and
decode the performance they are viewing on stage. Cultural baggage or
amassed knowledge that is acquired through education and social
upbringing is one tool that the spectator can utilize in the
interpretation of signs.
To fully understand the icons, indexes, and symbols found within a New
Circus such as Cirque du Soleil, the spectator needs to be familiar
with the archetypes of the traditional circus, such as the ringmaster
and the clown. Many of the characters found within the Cirque du
Soleil sphere have evolved out of archetypes or stereotypes found in
the traditional circus. One first needs to understand the
significance of the original ringmaster found in a circus such as
Ringling Brother's and Barnum and Baileys Greatest Show On Earth in
order to understand the construction of the evolved ringmaster, such
as Monsieur Fleur (Rénald Laurin), from Alegría. Original, in this
context, means the Ringling ringmaster is modelled after an archetype
that the average spectator would be familiar with from excursions to
the circus.
The lighting, costuming, props, setting, and other morphological
elements that surrounded Monsieur Fleur on stage provided a context to
assist in the interpretation of his character. These morphological
characteristics were woven together into a harmonious mise en scène,
which aided the spectator in their reading of Monsieur Fleur. His
staff, which had a light on its tip, informed the audience that he
possessed an elevated status within the hierarchy of the ring. In
fact, the illuminated end was used to focus attention on his
character. When the lights dimmed, for example, the eyes of the
viewer were drawn to the one remaining light on stage, on the top of
his staff. The traditional ringmaster uses either a whistle or a whip
in order to draw the attention of the audience. By blowing on the
whistle or snapping the whip all eyes are drawn to this character.
They are examples of indexes that represent tools operated by a person
of authority. They also represent the power held by the ringmaster
over acrobats and clowns. The staff held by Monsieur Fleur was a
symbol of authority, not unlike a sceptre held by a king. The
ringmasters of Cirque du Soleil, however, combine aspects of both a
traditional ringmaster and a clown. The rod held by Fleur can be read
as both a sceptre and a bauble, the instrument of the jester or fool.
When it would light up, or when Fleur stamped it on the ground, he
would draw the attention to himself. As well, by stamping the staff
Fleur indicated to the performers on stage to follow his directions.
Monsieur Fleurs scarlet red tailcoat was also similar to the costume
worn by the archetypal ringmaster, as it was of a similar cut as that
of his predecessors outfit. His clothing concurrently identified him
as a rooster as he had feathery fringes around his cuffs, his chest
was puffed-out, and characters who dressed and moved like chickens
were subservient to Monsieur Fleur throughout the performance.
Clearly, the construction of the various signs upon the stage also
worked at a metaphoric level, with the circus ring representing
Monsieur Fleur's roost.
In both the circus and theatre, the interpretation of signs takes on
an added significance. Toro states that, "in theatre the theatre
object refers to itself simply because it is on-stage, but it also
refers to a real object ... (de Toro 87)". In other words, the
theatre or circus sign has a double meaning because it is found in an
artificial world. This is why context becomes so important in the
interpretation of symbols, indexes, and icons found within the circus.
The sign may have one meaning outside of the circus tent, but takes on
a new signification as a general, particular, or unique convention
within the circus ring. Again using Monsieur Fleur as an example, out
of the context of a circus performance, he was still a rooster,
identified by his costume, but he was not a ringmaster. Within the
confines of the mise en scène constructed for Alegría, the audience
was forced to accept Monsieur Fleur in the role of ringmaster. By
placing him within this environment and displaying him as the figure
of authority within the circus ring, the spectator was compelled to
further interpret his objectified character, that of rooster, as
ringmaster. Thus, a solidly constructed sign on the stage leads the
viewer to an even deeper and more exact meaning of an adjoining index.
The clown act created by Slava Polunin known as the Snowshow, also
performed as a number in Alegría, provides another example of how the
spectator can interpret a Cirque du Soleil performance through a
reading of the signs and conventions on the stage. At the beginning
of this routine, the Russian clown Serguei Chachelev pulled a rope
ladder, used for ascending to the trapeze, across the surface of the
stage in a semi-circular pattern. The rope ladder can be read as a
climbing device used by acrobats, but when another Russian clown, Yuri
Medvedev (playing the role originated by Slava) later walked along it
with his suitcase in hand it was then identifiable as an icon, which
represented a train track. This idea was further supported by the
sound of a train's whistle blowing and by Medvedev who was wearing a
top hat, which blew smoke out of its top as he ran along the tracks
thus constructing himself as the train. The rope ladder was a unique
convention, only identifiable by a series of other unique and
particular conventions that surrounded it in the circus ring. The
train whistle sound effect, for example, was a particular convention,
which aided in the interpretation of the ladder as track.
Medvedev, stopping to rest along the rails, lay down his suitcase.
When he opened it, out flew two white balloons with red ribbons tied
around them. The balloons signified moths and signified that this was
a memory play and that time had passed and eaten away at the fabric of
this story. The red ribbons attached to the white balloons presented
a mystery to anyone who had not seen Slava perform this act himself.
As the creator of the interlude, Slava had instilled the scene with
meaning, which pertained to his personal clown character. While the
red ribbons retained no significance in the Alegría production, in his
Snowshow (which Slava also tours around the world) it was obvious the
ribbons were actually threads from the red scarf that Slava wears
around his neck. Medvedevs valise, therefore, was not simply a
suitcase, but the baggage or memories that he carried through life.
Medvedev pulled out a black jacket from the case and a vibrating, red
tuft of material fell from it and moved around in a frenzied pattern.
Once again, the meaning was lost without reference to Slava himself,
for this was one of his fuzzy red slippers (Medvedev wore black
leather shoes), which having fermented, took on a life of its own.
Medvedev hung the jacket on a rung of the vertical section of the rope
ladder, held in place by a hanger and returned to his case. He pulled
out a hat, which was covered in dust, and brushed it off. Similar to
the way one recalls memories, these actions were all part of the
thought process, and a further clarification that this story
originally took place long ago. Medvedev placed the hat above the
jacket, on another hanger shaped like a human head. He then dusted
the hat and slipped his arm through one of the jackets sleeves.
Magically, the jacket came to life and Medvedev was as surprised as
the audience to see this transformation take place. Next, the coat
dusted him and stroked his face, displaying to the audience that this
was the spectre of his lost love come back to life. To clarify, the
coat became animated only as an extension of Medvedevs body. Again,
it was his own arm that stroked his face in this scene, however, he
made it appear that the arm belonged to the owner of the jacket, and
thus, to his lover. Through simple gestures and a few rudimentary
props, the clown was able to stir this jacket to life, such that the
spectator saw a clown embrace a woman. While the clown's lover held
him, she secretly slipped a note, on a piece of simple white paper
into his pocket.
The sound effect of the trains whistle was heard again off in the
distance and Medvedev re-packed his bag and exited the stage. When he
returned, he had become the physical manifestation of the train. He
wore a top hat that spouted smoke out of its top, as did the rear of
his suitcase. Medvedev also had an air horn on his case, which when
blown simulated the sound of the train. He raced along the track
until he reached his destination, where he sat down -- exhausted.
Sitting upon his case, Medvedev extracted his handkerchief, at which
point the letter fell out of his pocket. As he read the note, the
audience determined from his expressions that it was obviously a Dear
John letter and could see he was devastated by the words that he read.
He ripped the letter up into tiny little squares of paper and threw
them into the air. As they flitted to the ground, thousands of
similar scraps of white paper fell from the ceiling above,
interweaving with those he had thrown into the air -- together, they
fell like (iconographic) snow around him. Time seemed frozen, an
effect accentuated with a strobe light, which slowed all of Medvedevs
motions down to a crawl. The backdrops, which revealed the night sky,
were turned to display mountains covered in snow. Medvedev tried to
negotiate through the snow (the flakes symbolized his lover's words
and his life) but he was not capable of going any further. The
audience heard the sound of ice cracking, representative of the
breaking of his heart. Medvedev turned (upstage) to face his misery
and was hit by a barrage of snow (white scraps of paper blown by huge
fans) in a dramatic, theatrical effect. The audience was also
bombarded with incredibly bright, blinding lights and snow whipping in
their faces. The spectators became literally immersed in his misery,
as the snow and wind enveloped them. Medvedev ran towards (or into)
the light, an obvious metaphor for the end of his life, but he was
able to weather the storm -- black out.
Medvedev sat frozen on the edge of the stage, the season was now
summer. When the lights came up again he saw a butterfly flying near
the brim of his hat, an effect that was achieved by attaching the
insect to a wire on his bowler so that it fluttered as he moved. Like
the butterfly, having survived his tragedy Medvedev was reborn a
fuller, more beautiful being.
A simple allegory, the story warned against despair and the power of
words on an individual. Nevertheless, it counselled that suicide was
not the answer. If one found the strength to survive the most
horrible circumstances, they would be able to find beauty in their
lives. This was understood through a reading of the various signs and
conventions employed in its construction by Slava. The scraps of
paper, for example, took on new meaning when they fell like snow with
the soundscape of wind playing in the background, and the backdrop
rotated to look like snow covered mountains. The audience was able to
comprehend the meaning of the snow paper by the signs that
surrounded these objects floating through the air.
Quidam, another circus created by Cirque du Soleil, contained the most
cohesive mise en scène of any of their productions. This was because
the show's central motif, the freeing of emotions, possessed a strong
through-line the audience could follow throughout the production (the
spectator literally followed a red ball or balloon through the show).
The performance also played with many visual signs, such as imagery
from The Wizard of Oz, childrens playgrounds, and the surreal art of
René Magritte, but in the end, these themes always supported the
central idea of setting emotions free.
The art of René Magritte played a central role in the mise en scène,
in particular his 1964 painting The Son of Man. This picture contains
a suited man wearing a bowler hat, but his face is blocked by a large
green apple. This obstruction forces the viewer to imagine what is
behind the fruit, making the invisible visible (Paquet 77). Quidam
played with this well-known image in its construction of a headless
character wearing a bowler hat and carrying an umbrella. At the
beginning of the show, this headless man entered the home of a young
girl (played by Audrey Brisson-Jutras) and left her his bowler hat.
The ringmaster (John Gilkey) placed the hat on the young childs head,
metaphorically transporting her into a world of imagination. In this
context, the bowler became emblematic of the brain, specifically, a
brain filled with ideas. Therefore, the headless man was a call for
creativity and wildness, for imagination.
Other bowler hats appeared on the heads of various characters at other
points in the show as well, most poignantly during the German wheel
performance of Chris Lashua. Each time the bowler surfaced, it was
used to further strengthen the metaphor of the hat as a symbol of the
brain. By having Lashua wear a bowler hat, it was suggested that his
German wheel signified the inner workings of the mind. The act
immediately followed the placement of the bowler on Brisson-Jutras
head, thus the obvious connection was the hat represented her brain in
motion.
The hat of the headless man was not his only significant symbol. The
umbrella, which he also carried, was ripe with meaning. The umbrella
was used to protect the headless mans head from rain, only he did not
have a head. The umbrella, present in every Cirque du Soleil show,
has taken on the status of trademark, a symbol the audience has come
to expect when watching this circus. It has served many purposes: as
a juggling device in Nouvelle Expérience, as a balancing mechanism and
a place to hide a microphone in Saltimbanco, and as a parachute in
Dralion. Ultimately, the umbrella is reminiscent of a miniature
circus tent exemplifying the portability and itinerant nature of the
circus. The headless man, so full of imagination, was emblematic of
Cirque du Soleil as a whole. It is ironic that he was headless, yet
his head was filled with so much imagination.
Quidam also contained an homage or two to The Wizard of Oz within its
production. The ringmaster, John Gilkey, put on a pair of sparkling,
silver shoes right after he gave Brisson-Jutras the hat. The colour
of the shoes was reminiscent of the costume worn by the good witch in
The Wizard of Oz, and they designated Gilkey as the guide for
Dorothy, or rather Audrey. The fact that it was a little girls
journey (who also sang) also drew parallels between this show and The
Wizard of Oz. The most obvious link between the two shows was the
presence of "Tin Men", in the guise of the diabolo artists,
solidifying the idea that these two worlds were interwoven. The Tin
Man in The Wizard of Oz was in search of a heart, an obvious symbol
for emotion, something that Brisson-Jutras was also searching for in
Quidam.
The diabolos, which the Tin Men played with, were integrated into the
productions playground theme. If the acts were not centred directly
on the emotions, they were based around games found in a schoolyard.
Hence, they were games typically filled or created with a childs
imagination. The diabolo is a less obvious illustration of a
playground toy, since it is not familiar to most modern audiences.
However, it is a toy played with by many Chinese children in the East,
and was a game commonly played by European children in the last
century. Modern Western audiences related to it as a childs toy
through its resemblance to the yo-yo. It was an apt game to choose
for this show as an illustration of the imagination of children. This
is true because diabolo tricks are filled with complex throws and
catches, spins, and cats cradle manoeuvres. Other children's games
incorporated into the show at various points included skateboarding,
playing with dolls, skipping, and swinging on the cloud swing.
All of these concepts (playground games, The Wizard of Oz, and the
work of Magritte) were subordinate to the central theme of releasing
emotions. This idea was linked to the previous Cirque du Soleil show
Alegría through the use of a birdcage. Emotions were symbolized in
this production primarily as a red ball or balloon, although at times
feeling appeared simply as the colour red. The families' feelings
were enclosed in a domestic birdcage at the top of the show. It was
obvious from the image it was the parents emotions trapped in their
own worlds, as the father disappeared into his newspaper, and the
mother into her radio. Both were unable to communicate or express
themselves to each other, or to their child. When the bowler hat was
placed on Brisson-Jutras head, it served as a means to open the
channels within not only the family, but within its individual
members, as well.
There were two major categories of acts within this show, routines
displaying internal emotions, and numbers revolving around children
playing. The sand lot games were the latter, while acts such as the
Spanish web, German wheel, aerial hoops, and statue examined the inner
feelings of the family. In each of these acts, the inner workings of
a particular character were revealed to the audience. The German
wheel portrayed the thought process of Brisson-Jutras mind; the
Spanish web (performed by Isabelle Chassé) bared the mothers soul;
the statue or Vis Versa act revealed the parents finally dealing with
their raw emotions; and the aerial hoops act included costumes with
the hearts ripped out.
Throughout the show, the audience was constantly faced with the
parents' struggle to grasp and display emotions. This idea was
revisited all through the evening. With the imagination and
playfulness of their child, they were able to change from a
dysfunctional family to one full of love and courage. One of the most
powerful images in the production was that of the father, harnessed
high above the stage onto one of the grid sections, which pulled him
out towards the audience. He appeared to be walking on air, oblivious
to the world around him. Although he appeared to be reading his
newspaper, in fact, his head was literally surrounded by the paper.
His head actually poked through the front page, with his face sticking
out towards the audience. The paper had become such a crutch; he was
actually entrapped and did not know how to escape. By the end of the
production, his character had shredded his paper and was able to share
his love and emotions with the rest of his family.
In their various productions, Cirque du Soleil present straightforward
ideas constructed with a complex series of signs and conventions. The
reading and comprehension of a circus performance, in general, is an
active process demanding participation by both the performer and the
spectator. In the final analysis, however, it is always up to the
audience members to assemble the various signs they have witnessed
during a performance (whether in the form of sound, lighting,
costuming, performance style, etc.) to find both coherence and
completeness within the performance text (De Marinis 59-60). This is
key when viewing and reading a Cirque du Soleil production in order to
understand the underlying themes presented.
This paper has established that the spectator begins by seeking out
familiar and recognizable signs. These signs must be reassembled in
an orderly fashion by the spectator in order to grasp the theme or
message conveyed. By identifying and assembling the various pieces of
the thematic puzzle(s), the spectators are empowered with the ability
to complete the performance text, providing a coherent summary of the
action within the ring. As Marco De Marinis states in his book The
Semiotics of Performance, "the performance text is a performance unit
which the analyst's intention (or the intention of the ordinary
audience member) designates as semiotically complete (59)." Although,
it is not solely the responsibility of the performer(s) to explain
what is shown, the onus is on the spectator to read, analyze, or re-
write the performance text in such a way that it takes on a
comprehensible meaning and wholeness.
Bibliography:
Albrecht, Ernest. The New American Circus. Gainesville: University
Press of Florida, 1995.
Balint, Michael. Thrills and Regressions. Ed. John D. Sutherland.
London: The Hogarth Press, 1959.
Bouissac, Paul. "Technological Innovations and Cultural Semiosis:
The Ritualistic Appropriation of the Bicycle by the Circus." Kultur
Evolution: Fallstudien und Synthese. Ivan Bystrina, Heiko Karnowski
and Marlene Landsch, ed. Frankfurt: Peter Lang, 1992: 169-197.
de Marinis, Marco. The Semiotics of Performance. Bloomington:
Indiana University Press, 1993.
de Toro, Fernando. Theatre Semiotics: Text and Staging in Modern
Theatre. Trans. John Lewis. Ed. Carole Hubbard. Toronto: University
of Toronto Press, 1995.
Paquet, Marcel. René Magritte 1898-1967: Thought Rendered Visible.
Hamburg: Benedikt Taschen, 1994.
Paquet, Marcel. René Magritte 1898-1967: Thought Rendered Visible.
Hamburg: Benedikt Taschen, 1994.
Performances:
Alegría. Dir. Franco Dragone. Vienna, Aus., 22-25 Oct. 1997.
Alegría. Dir. Franco Dragone. Dusseldorf, Ger., 14-16 Nov. 1997.
Quidam. Dir. Franco Dragone. Toronto, 25 Aug. 1996.
Quidam. Dir. Franco Dragone. Chicago, IL, 7 and 8 Aug. 1998.
Slavas Snowshow. Perf. Slava Polunin. The Princess of Wales
Theatre. Toronto, 6 Jan. and 29 Jan. 1998.
----------------------------------------------------------
"Solar Flare: On-Call with Natasha Hallett"
By: Ian Rents - Special Interview Reprint
----------------------------------------------------------
Back in our April issue, Ian Reents introduced us to Solar Flare: a
Cirque du Soleil Podcast, which he started after reading an article
here on Fascination called "The Wider World of Cirque-Centric
Podcasts". He realized there were no Cirque-Centric pod-casts out
there today, so he grabbed a microphone, plugged it into his computer,
and began to record the first Solar Flare Podcast.
That first episode was released on December 10, 2013, followed by a
second on November 30th, and a third on April 1, 2014 to much success.
Shortly thereafter, the Podcast went on hiatus (real life snuck into
the Big Top), however, we've been assured he'll be back in the near
future! (With some great interviews!) In the meantime, check out the
first interview Solar Flare held with Natasha Hallett - former
performer with Mystère and La Nouba. It's a great one!
# # #
Solar Flare: Where did you get your start in gymnastics? You were in
the 1992 Olympics in Barcelona.
Natasha: I started In a little town called St John New Brunswick in
Canada. At the local YMCA when I was 8 years old. I quickly became
quite talented or I guess I was just naturally talented because I
progressed really quickly and outgrew the coaches there at the YMCA
and the facilities there. So at the young age of 11 years old I
decided that if I wanted to be serious and wanted to go to the
Olympics I would have to move away from home and train with the big
girls so thats what I did. I moved away from home when I was 11 years
old to Montreal and started training eight hours a day until Olympics
in '92 and right after Olympics I auditioned for Cirque.
Solar Flare: Now with Cirque most people know you from your role in La
Nouba as the Green Bird, but you also started in Mystere from '93 to
about 2003?
Natasha: Yes I did 10 years with that show.
Solar Flare: What made you want to go from gymnastics to Cirque?
Natasha: Cirque was a total fluke. I... Kind of a strange story but..
I broke up with my boyfriend that morning. The morning of the audition
and I really had nowhere to go, I was mad, and I didn't know what to
do. I knew I had this audition with Cirque Du Soleil I didn't know
what that was what entailed, what I was doing, I had no clue. I just
had the address and I knew I had to be there at a certain time. I
hopped on the metro and showed up.
Solar Flare: Did they scout you or did you send in an audition package?
Natasha: Well actually the recruiting director for Cirque at the time
was Lyn Heward whom just happened to be the president of the
gymnastics federation in Quebec. So after Olympics, she was the one
who contacted me and said "There's an audition in Montreal here's the
address we would love you to be there." So yah I guess I was
recruited.
Solar Flare: Now alot of people when they join cirque they get put
into things they have never done before was this the case for you?
Natasha: It sure was. I knew gymnastics and I mean, Cirque has
gymnastics in it, but the things that I was taught, I had never done
before. They taught me how to climb a Chinese pole, do trapeze, walk
on a high-wire, jump on a teeter board which takes quite some skill as
we all learned and then power-track, yah I didn't know how to do any
of those things and we did almost a year in training called "Creation"
to put the show together for Mystere.
Solar Flare: Was this at the new headquarters or the old one in
Montreal?
Natasha: It was actually in old Montreal in a run-down train station
that we trained in, with the train tracks running right through the
stage. It was an old, old building - freezing cold, cement floors.
Nothing like the facility they have now. What they have now is insane.
Its just beautiful I've been there and its just top of the line
state of the art, its just an incredible building.
Solar Flare: Would you say its harder to get into Cirque? Now you
have to send in a whole video package you have to send in tapes there
are so many steps to go through what was it like at cirque when you
first auditioned for them?
Natasha: You kind of have to audition yourself first and then they
have to look through all those DVDs and then you get an invitation,
beforehand you just got an invitation and they got to see your talent
first hand and then they picked the best ones out of that group. Now
they have to all these tapes and DVDs and I'm sure there is a million
of them. I'd guess you'd say its a bit harder now.
Solar Flare: When you were at Mystere, what was your day-to-day
routine like?
Natasha: Our show started at 7:30 PM and 10:30 PM so we pretty much
had all day to do whatever we wanted to. We usually had training at
about 4:30PM or 5:00pm. Show call was at 6:30pm you had to be in the
building signed in at 6:30pm and put your make up on and get warmed
up.
Solar Flare: How long did that make up take to apply?
Natasha: It usually took me about a half an hour, 45 if I did it
absolutely perfect and took my time. I did it a couple times in a half
hour.
Solar Flare: Does it get boring doing the same thing every single day?
Natasha: Absolutely not, every audience is different and thats what
you feed off of every night every performance is different, sometimes
people get injured or sick so even on stage what you're doing is
different because you might have to fill in for someone. You may have
a different pusher you may have a different spotter. So its
constantly, constantly changing.
Solar Flare: I'm sure there were a few nights where you had to do
that. Was that comfortable for you or were you a nervous wreck?
Natasha: We trained for that. We usually would train to do other parts
other than our own just in case something like that did happen we'd be
ready to fill in for someone. So a lot of people didn't just do what
they do on stage. They could do more than one act, more than one spot,
more than one character. I know for me in Mystere I learned all of the
dance routines so if one of the dancers was out I could fill in for
one of them. I guess it depends on what trick it was if it was
something that would be scary on a daily basis or one you did once
every six months, that would be a lot of added pressure, but I guess
that nervous energy, for me anyway it helps me. So I didn't really
have a problem with it. But all I know is it can be nerve-wrecking for
other people.
Solar Flare: What prompted you to go to La Nouba? Did they contact
you?
Natasha: No it was actually a personal relationship that kind of
prompted me to change shows. My boyfriend at the time was changing
shows and it was either break up with him or follow him to Florida and
I had been with Mystere for 10 years and I said why not? Lets try
something different. I was excited but I was sad at the same time to
leave Mystere because Mystere will always be my favorite show. But it
was a nice challenge for me to change shows and I got to perform in a
completely different role completely opposite of what I was doing. So
artistically it was really good for me.
Solar Flare: How long had La Nouba been open before you joined?
Natasha: I think they were open 4 years before that, so I came in and
took over someone else's role.
Solar Flare: Now you went from the red bird to the green bird so
you're kind of like the Cirque du Soleil bird lady. You play birds a
lot.
Natasha: I do play birds, I was a red bird in Mystere and a Green Bird
(laughs) La Nouba. I don't know maybe I have wings!
Solar Flare: How did your role as green bird differ from the original
green bird or the one that was there before you?
Natasha: My portrayal of the green bird was a lot more acrobatic. The
original girl was more of a clown. She was hired more as a clown and I
was hired more as a clown-acrobat. So I added a lot of acrobatics to
it, like I added the power-track so I did more flips here and there -
just because thats me. Everyone that goes into a role following
someone else, you can't just carbon copy a role you have to be
yourself in it. There's guidelines yes, but you have to be yourself
within that character.
Solar Flare: How long did they give you to learn the character?
Natasha: I think I had four days to view the tapes and be in the show.
I taught myself pretty much, what I needed to do. You know, the
spacing, the timing from here to there and this cue and that cue. I
guess the rest of the show just falls into place. You know your part
but you have to figure out with everyone else on stage what your
interaction is. So it takes some time to figure that part out but as
far as what I had to do on stage it took me maybe a week to learn the
role.
Solar Flare: Each character has a different interaction with another
just as we as people have different interactions, as new people come
in does that affect the character?
Natasha: Yah just those little interactions... One person that changes
will change the whole show. Just how every other character interacts
with that one character, kind of like in a movie.
Solar Flare: Now I'm calling you from a hotel in Orlando and its kind
of funny because they have those pamphlets in the lobby still with
your picture on them and I'm like, "that's not the current person
that's Natasha"
Natasha: Yah I know there are a lot of posters still in Vegas.
Solar Flare: Do people still recognize you and say hey "its the bird
lady!"
Natasha: My family does, people who know me and know that I'm in
Cirque... they call them turkey sightings. Because my nickname is
Turkey Tash and my family calls me that. I was even a bird when I
was a little kid. But I was a turkey, so they called them turkey
sightings.
Solar Flare: How many years were you in La Nouba for?
Natasha: Seven. Yah I'd probably still be with them if it hadn't been
for my little unfortunate fall from grace.
Solar Flare: Now Elena Day [said] in the DVD: the green bird is a
flightless bird.
Natasha: With broken wings that cant fly.
Solar Flare: Now that wasnt what you were trying to portray that
night?
Natasha: I did try to fly, but it just didn't work.
Solar Flare: What was the cause of the accident?
Natasha: It was a rigging issue and a human error issue. Pretty much I
made a mistake, my rigger made a mistake on the same day, on the same
night and that mistake enabled my belt to not be secured properly and
as I leaned forward my belt (unclipped). I had a new technicSolar
Flare so he was new. I made a mistake that night. He was supposed to
check my belt but he didn't check it. So it was an accident really.
Like a pure simple accident. Two people making the wrong mistake at
the wrong time.
Solar Flare: Did they continue the show or did they stop the show?
Natasha: They continued the music. I think the dancers kept going.
They tried to kind of keep the atmosphere of the theater calmed down.
I think the music did keep going. They did stop the show briefly
until I was taken off stage and then the show just continued.
Solar Flare: What was the damage done?
Natasha: The damage done was quite grave. I had 19 fractures. I pretty
much broke everything from my waist down. I broke my back, I broke my
sacrum, my pelvis in six places, I broke both my legs, both my feet,
my heels, all the bones in my feet. It was pretty nasty, compound
fractures and the whole nine yards.
Solar Flare: I was reading an article that said the nurses were very
impressed with how quick you were recovering.
Natasha: Yah I did. My doctor was like "What are you eating?" He was
like "I've never seen someone heal as quickly as you do". I made kind
of like a promise to myself I told myself I'm going to be back on
stage in one year. I think it was 11 months and 25 days and I was back
on stage.
Solar Flare: Do you still currently train?
Natasha: No, I mean, I can't move like I used to. Basically I was non-
mobile; you know hospital bed with most of my legs broken, metal bar
sticking out of my hips like a stabilizer. I pretty much didn't move
for a good 2 1/2 months. I had to learn how to walk again. I was in a
wheel chair for a while. I recovered well and it was really I had a
botched ankle surgery. That didn't work and that's really the reason
why I'm not on stage anymore... because of that stupid ankle. Not even
my back, not my pelvis, not my other injuries it was just my stupid
left ankle.
Solar Flare: What are you doing currently?
Natasha: I'm coaching gymnastics now and I'm loving it. I'm still you
know, explaining moves and trying to pass on my knowledge of what I
know. I do miss the stage every single day.
# # #
You can listen to this podcast here:
http://www.sfcirque.com/#!listen/c1h6a
Interview transcribed by Ian Reents.
=======================================================================
COPYRIGHT AND DISCLAIMER
=======================================================================
Fascination! Newsletter
Volume 14, Number 9 (Issue #128) - September 2014
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c)
2001-2014 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.
{ Sep.07.2014 }
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