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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 16, NUMBER 2 February 2016 ISSUE #145
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Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
There've been a number of disparaging reviews about TORUK in North
America, (which just officially launched in Montreal on December 21st)
and with Amaluna in the UK (which just had its London premiere on
January 16th). So much so that many Cirque du Soleil fans are baffled
by the audacity of whats being published. These critics, who are
normally a tough audience to begin with, have laid it on thick this
time, suggesting that these two shows are pedantic, boring, and a
mess and thats putting it mildly. Yet some fans feel these words
perfectly describe what they now feel about Amaluna (which recently
went through some changes for the European market) and TORUK (which is
a radical departure from what Cirque usually produces). Its not a
hard stretch of the imagination then to realize fans on both sides of
the fence have discussed their views with zest and zeal. Were a
passionate bunch, after all! And our fervor spilled over into a number
of fan circles. You can imagine what ensued.
My take on it all is this: I think we can all agree that what an
artist does can be tough. (I certainly can't do any of it so they get
props from me right there.) But if we examined a negative reaction
more closely we might see that its not necessarily an issue with the
artists themselves when people complain about a performance, its more
likely they just didnt like it and they cant explain why. Perhaps
it's the staging, integration into the show, a disappointment in what
that act may have replaced, maybe they don't care about the artist's
costume, the music accompanying it, the way it's lit, or maybe it just
didn't touch them. It happens. You can't please everybody. And while
it may be disheartening to hear negative comments - especially to
artists who really are working hard - it comes with the job. You have
to take the bad with the good. There really is no getting around it.
I would consider myself a hardcore fan of Cirque du Soleil, and I love
them and the artists that work for them. But being Hardcore or a "true
fan" does not mean I automatically love everything Cirque does.
Believing that way comes across as superficial and false. So, yes,
even I might say a few adverse things when I feel such criticism is
warranted. A fellow fan may not agree with my point of view, and you
know what? That's okay! I may not agree with theirs. But the important
factor here is that we can openly discuss it rationally (or, at least
hope to) to see if we can come to common ground. Suggesting that
criticism is unwelcome is foolish. We have our own opinions and we all
should accept that there are those out there who do not agree with us.
Their opinions may be harsh, we may vehemently disagree with them, but
that's life. Take it, accept it, and use it to help yourself
understand (fans) or get better (artists), and then move on.
Surrounding yourself with people who think everything is awesome
isnt doing you a good service in my opinion because youre only being
told what you want to hear then, not necessarily what you need to
hear. And in the end perhaps its a good rule of thumb not to take
anyone who cannot enunciate the reasons why they disliked something
you did so seriously. Comments like you suck, that sucked, and/or
this artist is bad are subjective and dependent upon a lot of
factors that are (maybe) out of their control. Its negativity for
negativitys sake, its not very diplomatic, nor is it constructive.
And keep in mind the person doing the speaking may not have an idea
what he or she is talking about. Take this comment from one of the
recent reviews of Amaluna as an example. She proclaimed it as erotic
as a wet wipe and I have to wonder: did she understand Amaluna is NOT
Zumanity? Was never meant to be Zumanity? Or overly erotic? It makes
you wonder!
Now, fans, if youre champing at the bit to see TORUK-The First Flight
and make your own opinion about the show, but its not coming anywhere
near you anytime soon, dont despair. According to TORUKs Facebook
page, filming for an upcoming TORUK DVD at Centre Vidéotron in Quebec
City is now complete. We dont know when it will be released or in
what format (to DVD, Blu Ray, or digitally) but its currently being
edited for release so check back for updates; well definitely let you
know when we hear! (And we hope the documentary TORUK Takes Flight,
which was exclusive to Bell Fibe TV will be included too!) In other
news: La Nouba celebrated its 10 Millionth Guest on January 8th
thats quite a feat! It seems like only yesterday the show welcomed
its 5 Millionth Guest (which it did on August 10, 2006 I was in the
audience; my how time flies!) And for those who were wondering (like I
was) if there was a plan for a 2016 version of SCALADA in Andorra,
wonder no longer. A release (http://goo.gl/eylaRA) notes a new version
of 45 DEGREES' summer spectacular is in the works. And if anyone out
there was wondering how JOYA was doing, wonder no more. According to
this article (http://goo.gl/6V6sSx - French), although there have been
a few changes as of late (about 12 more minutes were added to the show
recently), JOYA enjoys a 97% attendance rate. It's so popular that,
according to the article, there's soon to be a JOYA-like dinner show
in Hawaii. And there are 2 JOYA-type shows under consideration for
China. WOW!
Theres much, much more in our NEWS section this month, such as:
Casting announcements for Paramour, Cirque butting back its
involvement with the Saint-Michel community (where their IHQ is
located), and a note that 45 DEGREES will be putting together the
opening show for the NBA All-Star Game. If youre looking for a little
insight from Cirque cast and crew, check out the Q&A section this
month where youll find a number of chats with Nikolai Liubezny
(TOTEM Russian Bars Performer), singer-songwriter Leona Lewis (who is
joining One Night for One Drop 4), Hassan El Hajjami (ONOD4s
Director), Jerry Nadal (Cirques Resident Show SVP), and Giulia
Piolanti (TORUKs Tsyal). And dont miss out on the articles about
Cirque trying to break into the Chinese market, or the one about the
changes coming to LOVE, Believe, and
yes, even O! Im also curious
to know your thoughts on the revelation that Cirque is planning a
talent show reality series for its upcoming auditions in Australia!
For FEATURES this month we continue with our look back at Guy
Lalibertes Poetic Social Mission (Part 6 of 8), and dive into all the
press materials released on TORUK-THE FIRST FLIGHT theres a lot of
text there from costumes to music, and puppets to makeup - but its
all very fascinating, especially for fans who are interested in the
World of Pandora. As always we have updates to Cirque's touring
schedule (ITINÉRAIRE), but before I signoff theres one more thing I
want to mention: we're piloting a re-tool of the OUTREACH section this
month. You'll find that rather than breaking out mentions by location
(CirqueClub, Facebook, etc.), weve basically arranged them by type
(Videos & Photos) in the hopes that in the future we can include links
to relevant posts from all across the social media spectrum: Twitter,
Instagram, Periscope, YouTube, Snapchat, and Tumblr, without really
worring about where they came from. To help us organize this effort
you'll find three categories in the new OUTREACH section: WEBSERIES
(for the official online featurettes Cirques been posting across
YouTube and Facebook), FOTOS (for images posted by Cirque and fans on
Facebook and Instagram), and VIDEOS (for other official peeks and
noted fan finds across Facebook, YouTube, Vimeo, and other sites
featuring video).
So, lets get started!
/----------------------------------------------------\
| |
| Join us on the web at: |
| < www.cirquefascination.com > |
| |
| Realy Simple Syndication (RSS) Feed (News Only): |
| < http://www.cirquefascination.com/?feed=rss2 > |
| |
\----------------------------------------------------/
- Ricky "Richasi" Russo
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CONTENTS
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o) Cirque Buzz -- News, Rumours & Sightings
* La Presse -- General News for the Month
* Q&A - Quick Chats & Press Interviews
* Special Engagement - More In-depth Articles
o) Itinéraire -- Tour/Show Information
* BigTop Shows -- Under the Grand Chapiteau
* Arena Shows -- In Stadium-like venues
* Resident Shows -- Performed en Le Théâtre
o) Outreach -- Updates from Cirque's Social Widgets
* Webseries -- Official Online Featurettes
* Fotos -- Images From Cirque & Other Photographs
* Videos -- Official Peeks & Noted Fan Finds
o) Fascination! Features
* SPECIAL /// "ALL ABOUT TORUK-THE FIRST FLIGHT"
By: Cirque du Soleil (Press Kit)
* LOOK BACK: Guy Laliberte's Poetic Social Mission
PART 6 of 8: "Departure for Baikonur"
By: Ricky Russo - Atlanta, Georgia (USA)
o) Subscription Information
o) Copyright & Disclaimer
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CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
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LA PRESSE General News for the Month
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Former WWE Superstar Joins KÀ
{Jan.02.2016}
-------------------------------------------------------
Former WWE Superstar Mason Ryan revealed on his Twitter account
that hes joined the cast of Cirque du Soleils KA. "I'm proud
to say I have a new role in the entertainment world, I have
joined Cirque and I'm now the chief archer in KA at the
MGMGrand," he said in a Tweet, announcing the news. Ryan is
portraying the role of the Chief Archer in the show at the MGM
Grand Garden Arena.
{ SOURCE: Twitter }
Complete Casting Announced for PARAMOUR
{Jan.04.2016}
-------------------------------------------------------
Complete casting has been announced for Cirque du Soleils new
Broadway show Paramour. The company will feature a cast of 38
singers, actors, dancers, and internationally renowned
aerialists, acrobats, and circus arts performers. The cast and
creative team represent 13 different countries (Argentina,
Australia, Belgium, Belarus, Canada, China, Cuba, France,
Poland, Russia, Sweden, United Kingdom and United States),
spanning five continents. The production is claiming that this
will be the most internationally diverse production to originate
on Broadway.
Staged by French director Philippe Decouflé, the musical
production will blend the best of Broadway with Cirque du
Soleils signature style. Paramour is set in Golden Age
Hollywood, where a young poet is forced to choose between love
and art.
Bradley Dean will play A.J., the director; and Ryan Vona will
play Joey, the composer. Deans New York credits include A
Little Night Music, Spamalot, The Last Ship, Doctor Zhivago and
Evita on Broadway; A New Brain at Encores!; and The Fantasticks
Off-Broadway. Vona played Andrej in Once on Broadway.
They will join the previously announced Ruby Lewis, who has
appeared in national tours of Gypsy, Grease, Jersey Boys and We
Will Rock You, who will be making her Broadway debut in
Paramours lead role. She has appeared in Cirque du Soleils For
The Record: BAZ, a post-modern cabaret inspired by the films of
director Baz Luhrmann.
The cast will also include Tom Ammirati, Andrew Atherton, Kevin
Atherton, Lee Brearley, Yanelis Brooks, Sam Charlton, Martin
Charrat, Nate Cooper, Katrina Cunningham, Myriam Deraiche, Kyle
Driggs, Jeremias Faganel, Amber Fulljames, Steven Trumon Gray,
Tomasz Jadach, Rafal Kaszubowski, Reed Kelly, Denis Kibenko, Joe
McAdam, Raven McRae, Sarah Meahl, Amber J. Merrick, Sheridan
Mouawad, Amber Pickens, Justin Prescott, Fletcher Blair Sanchez,
Matthieu Sennacherib, Bret Shuford, Blakely Slaybaugh, Sam
Softich, Amiel Soicher, Amber van Wijk, Bruce Weber, Tomasz
Wilkosz, and Zhengqi Xia (Da Qi).
Under the artistic guidance of Jean-François Bouchard (creative
guide), the creative team includes Pascale Henrot (associate
creative director), West Hyler (associate creative director and
scene director), Jean Rabasse (set designer), Philippe Guillotel
(costume designer), Bob & Bill (composers), Andreas Carlsson
(composer), Daphné Mauger (choreographer), Patrice Besombes
(lighting designer), Anne?Séguin Poirier (props designer),
Olivier Simola (projection designer), Christophe Waksmann
(projection designer), John Shivers (sound designer), Shana
Carroll (acrobatic choreographer and designer), Boris Verkhovsky
(acrobatic performance designer), Pierre Masse (rigging and
acrobatic equipment designer), and Nathalie Gagné (makeup
designer).
Paramour will begin preview performances on Saturday, April 16,
and open on Wednesday, May 25, at the Lyric Theatre.
{ SOURCES: Theater Mania, Broadway World, Broadway.com, Playbil }
Equity Reaches Agreement with Paramour Producer
{Jan.05.2016}
-------------------------------------------------------
A looming clash between Actors Equity Association and Cirque du
Soleil Theatrical, producers of the forthcoming Broadway musical
Paramour, was averted this week with an agreement between the
two parties that will allow some members of the cast to be
represented by the Variety Artists union, AGVA.
The show had been listed on the Equity website as barred to
members of the actors union because no contract existed between
the two.
AEA spokesperson Maria Somma released a statement Jan. 5 saying
the two parties have entered into an agreement for all future
Cirque du Soleil Theatrical productions on Broadway (as well as
pre-Broadway and post-Broadway tours) to be produced under
Equity contracts.
As part of their new relationship, Actors Equity Association
and Cirque du Soleil Theatrical will enter into a special one-
time agreement for the upcoming Broadway production of Paramour
that will allow part of the cast to be represented by a
different union, the American Guild of Variety Artists.
Equity said that this special agreement contains many of the
same terms and conditions as the [standard AEA Broadway]
Production Contract, including minimum Broadway salary, benefits
and safety rules. The special agreement will cover the actors,
singers, dancers and stage managers of the company. According
to the statement, a special agreement was created because
Paramour contains traditional Cirque acrobatics and feats and
the remainder of the company is made up of experts in the Circus
Arts.
Specific terms of the agreement were not released.
Mary McColl, executive director of Actors Equity said, We are
delighted to welcome Cirque du Soleil Theatrical to the Equity
family. We look forward to a successful, long-term relationship
and to the many additional work weeks this agreement will
provide for our members on Broadway and across the country.
This is a terrific way to start the New Year, said Equity
president Kate Shindle. On behalf of the membership, I would
like to congratulate Equitys staff on the great work they did
negotiating this, and, additionally, to thank the National
Council and the many members-at-large who participated in the
effort. We continue to hear that our 50,000-plus actors and
stage managers want Broadway and touring to be synonymous
with Equity, and this represents a major gain toward that
goal.
{ SOURCE: Playbill | http://goo.gl/V3iRNF }
El Niño no Bother to Cirque in LA
{Jan.07.2016}
-------------------------------------------------------
L.A. has been getting soaked this week due to El Niño-delivered
rain storms that have caused havoc across the Southland, causing
mudslides and flooding freeways. But theres been an unexpected
bright side to the downpours, according to Yannick Chapados,
director of site operations for Cirque du Soleils current show
at Dodger Stadium in Los Angeles, Kurios: Cabinet of
Curiosities.
We usually wash our tents very often, but because of the
drought in California, we havent washed at all. Now they look
clean naturally because of the hard rain, Chapados tells THR.
When it rains, some people hate it, but for us we look at it as
a good thing now the tents are clean.
Chapados and the Cirque crew are able to have such a sunny
perspective on the recent rainfall for another reason: the
Dodger Stadium parking lot that is hosting the entire Kurios
operation is on a slope, directing the rainfall downhill.
The way the Dodgers parking lot is structured, there are zero
puddles forming on site, explains Chapados, who has been with
Cirque for 15 years. We may have had a few minor leaks, like a
drop of water in the kitchen or something, but that is easily
fixed. For California, the last two days have been wet, but we
are prepared for much more.
Chapados notes that the worst experience the Cirque team has
encountered was when the traveling performance troupe set up
shop in Manilla, the capital of the Philippines, during monsoon
season. We had to dig big trenches and some trenches were big
enough to swim in, he says. South America and Bogota were also
challenging.
Cirque rep Amélie Robitaille adds that the rain in L.A. has been
more of a slight inconvenience. And if anything, her team has to
rally to let Angelenos know that the show does go on. We
havent seen any impact from the rain, but we like to reassure
guests that the Big Top is dry and shows are not canceled.
Fortunately, Chapados and Robitaille say they are only dealing
with rain and not snow, which has the potential to accumulate on
the top of the tent and cause more problems. And from what I
hear from my colleagues, we would have a much different story
(with the rain) if we were on the beach in Santa Monica, he
says.
{ SOURCE: The Hollywood Reporter | http://goo.gl/vcd2g5 }
What can this clown do for your business speech?
{Jan.13.2016}
-------------------------------------------------------
What does a clown know about giving a business speech? More than
you probably think, Jeff Raz says.
Raz is a world-class clown who performed the lead role in Cirque
du Soleils Corteo. Now the 58-year-old program director of
California-based Stand & Deliver Group shows clients how to use
theatrical skills to engage business audiences. You need the
same skills of persuasion of communication and creating
excitement as a performer in front of 3,000 people in an
abstract show, Raz says.
Its all about stage presence, eye contact, body language and
nimbleness. Stand & Deliver hires professional actors to provide
communication and leadership training for mega corporations
including Deloitte, Medtronic, Sony, American Express and Cisco.
So what are Razs tricks of the trade? Build a delivery ramp.
Youve got two minutes before people tune you out. The meta
idea here is, When you get in front of a group, whether its
Cirque du Soleil or a training lab at DU, youre giving a gift
to the people there. You have to focus on, What do they care
about? What are they interested in? Why are they even here?
We call it a ramp.
Raz watches for crossed arms in the audience. Arms crossed is
protecting your heart: This guys going to attack me, he
says. My goal is literal and physical. At the end of my ramp,
which is only a minute or two long, I want half of the arms
uncrossed because when they uncross them, its: Wait, this
guys actually thinking about me.
Be authentic. Sure, youre authentic around the kitchen table
or with your friends at a ballgame, he says. But at a
conference or a high-stakes meeting or when youre talking one
to one with your boss, you need genuine practiced skills, like
an actor has, to let your authentic self come through.
He says weve all experienced the colleague chameleon. Youre
talking with someone and their voice is vibrant and their eyes
are alive. Theyre moving and having a great conversation. And
then they get in front of the room, and youre thinking, Who is
that person? Theyve just lost everything of interest. You
have to combat that. You cant do that to people. Its cruel.
Adjust your presence to the size of the room. If youre in
front of a big room, you can make larger gestures and have more
range in the volume of your voice. Whenever possible, get rid
of the lectern. And step down from the podium, unless the folks
at the back cant otherwise see you. A raised stage is a
metaphor for: Im on a higher level than you.
In a video conference, people can only see your head and
shoulders, and gestures get lost. You should use the softer
tones in your voice almost like whispering in peoples ears,
he says. Theres also a tendency in one-on-one conversations or
small meetings for people to get too relaxed and informal. You
have to find that right balance between formality and warmth.
Leave a little to the imagination. Razs role in Corteo was
Cirque-weird because the audience was left to decide whether the
clown was dead or alive as he conjured visions of his festive
funeral. Cirque du Soleil loves ambiguity in its marketing,
in its shows, in its names. I realized the power of it when I
was on the road with Cirque, he says. But because almost every
story in business has a point, people tend to lead from that
front by telling us what the point is. Leave it alone. Let us
find the meaning. Be a little mysterious.
Be a storyteller. Create a coherent, concise and compelling
narrative so that you can light up a room even if the subject
isnt earth-shattering like making projections for FY 2016.
At the outset of his training sessions, Raz routinely asks the
group: What is the speaker doing when your eyes start to glaze
over and your hand goes to your electronic device? Theres
never a shortage of answers to that question.
His advice: Whatever that is, dont do it.
{ SOURCE: Cheryl Hall, Dallas News | http://goo.gl/IuZvwo }
SPARKED Nominated for 2016 NYC Drone Film Festival
{Jan.14.2016}
-------------------------------------------------------
Nominations have been announced for the 2nd Annual New York City
Drone Film Festival, the worlds first film festival dedicated
to works filmed by drones.
The nominees include Cirque du Soleils Sparked, National
Geographics Lava Chaser, Corridor Digitals The Smallest
Empire, Jordan Rubins The Drone and the NBC News coverage of
the Nepal Earthquake.
The festival, with presenting sponsor GE, will be held March 4-
6, 2016 at the Directors Guild of America Theater.
The quantity and quality of this years submissions is
outstanding, said festival founder and director Randy Scott
Slavin. With 330 submissions coming from 45 countries, drone
filmmaking is a not merely a passing fad but a worldwide
phenomenon thats here to stay.
Renowned architect Bjarke Ingels and Yahoo Tech founder David
Pogue will join other exceptional individuals from a variety of
disciplines in art, media and technology on the Festival Jury.
Awards will be presented in 14 categories, including Best
Narrative Film, Best News/Documentary Film, Best Extreme Sports
Film and Best Dronie, a SELFIE taken with a drone.
Check out Broadway Worlds article for the schedule for the
three-day event: http://goo.gl/QYlpcG
{ SOURCE: Broadway World }
JOYÀ Music Album Now Available on iTunes/Amazon
{Jan.15.2016}
-------------------------------------------------------
You can now purchase JOYÀ on iTunes for $1.29 per track or $9.99
for the full album.
JOYÀ CDSMC-10053
Composer: Bob & Bill
Run Time: 37:22
01: "Naturalium".............. (4:51)
02: "Comedy of Errors"........ (4:50)
03: "Reinas en la Penumbra"... (4:58)
04: "Adventure at Sea"........ (4:45)
05: "The Dive"................ (3:45)
06: "Profunda Belleza"........ (4:49)
07: "Legacy".................. (4:26)
08: "Nueva Era"............... (4:58)
Get the JOYÀ album on iTunes today [for $9.99]:
https://itunes.apple.com/us/album/joya/id1070100519
Or Get it at Amazon [for $9.49]:
https://www.amazon.com/gp/product/B019OX2S6W
It is also streamable via Spotify.
{ SOURCE: Apple, Amazon }
Quidam - A Feel Good Story Alert!
{Jan.22.2016}
-------------------------------------------------------
A few weeks ago, the Quidam Banquine team the news doing old
school acrobatics on the beach. Little did Cirque know, their
photos traveled right back to the person who had found the
originals years before
this is the email they received:
I am the son of the photographer George Caddy to whom your
acrobats, under the guidance of head coach Etienne recently
paid homage by recreating some of his beachobatics
photographs on Wollongong Beach [
] I am very keen to
personally express my gratitude to the coach and the acrobats
for their interest in my late fathers work.
We were so happy to find out Paul lives in Hobart, Tasmania
where we were also performing so we invited him to see the
show and meet the artists. He loved the show and was happy to
discuss the mechanics of how to build human pyramids with
Coach Etienne. It was a pleasure meeting you Paul!
{ SOURCE: Cirque du Soleil }
Cirque Cuts Back Involvement with Saint-Michel Community
{Jan.27.2016}
-------------------------------------------------------
When Cirque du Soleil set up its home base in Saint-Michel 20
years ago, one of its stated missions was to support the low-
income neighbourhood. It wrote cheques to community groups. It
lent staff for community events. It participated in
neighbourhood meetings to stay abreast of ongoing projects.
No more, community members say. Since it was acquired by U.S.
and Chinese investment funds last year, the circuss local
involvement has reduced to a dribble.
I stopped making requests for donations. Its pointless,
lamented Ambeault Simon, general manager of the Carrefour
populaire, a community centre that works with adults in Saint-
Michel. For about a year, he said, the centres financial pleas
to the Cirque have been systematically denied. Before that, he
received regular donations that made all the difference.
Three years ago, the Cirque helped us to buy a van, Simon
said.
Last fall, the Cirque du Soleil did not participate in an
economic development forum with other companies in Saint-Michel.
In recent months, the company founded by Guy Laliberté has no
longer taken part in local round tables.
The Villeray-Saint-Michel-Parc-Extension borough was informed
recently that, starting in 2017, Cirque du Soleil will stop
funding the Parcours Scène program, which encourages young
artists in the neighbourhood.
It is very regrettable and worrisome, said city councillor
Frantz Benjamin. This is not the time to overlook the
neighbourhood. I hope that Cirque du Soleil will understand
that its role is of paramount importance for the future of the
neighborhood.
The president of Vivre Saint-Michel en Santé, a group that
connects community organizations with citizens and businesses,
speaks of Cirque du Soleil in the past tense. It was an
important partner, said Marjorie Villefranche, who also heads
the Maison dHaiti. All the people with whom we had contacts
are gone.
The last two Cirque representatives who liaised with community
groups have been laid off. According to Radio-Canada sources,
the citizenship team, which is responsible for the companys
social activities, now has a dozen employees.
One year ago, the team had 40 people.
The Cirque laid off several hundred employees in recent years in
Montreal and around the world. Reportedly, the new owners have a
strict policy of profitability. Cirque says it is targeting
initiatives that work
The company denies having reduced its presence in the community,
but did not back up this claim with numbers. I wont go into
the numbers, because I dont have to go into the numbers, but I
can confirm that the Cirque has an enviable generosity, said
Agathe Alie, senior director of community relations at the
Cirque du Soleil.
However, she recognizes that the company has changed its ways.
Have we withdrawn from some things? Yes, most likely.
She explained that the Cirque distributes fewer cheques all
around and tries to target what works. There are points of
interest established, Alie said. Maybe we are less present in
some areas but, nonetheless, we will be present elsewhere, she
added. For example, the Cirque supports Magasins-Partage, which
provides meals and school supplies to more than 700 families in
Saint-Michel.
{ SOURCE: CBC | http://goo.gl/hsErHo }
45 DEGREES to Tip Off Festivities at NBA All-Star 2016
{Jan.28.2016}
-------------------------------------------------------
Building on its worldwide successful projects, 45 DEGREES will
harness Cirque du Soleils creative power to custom-tailor a
five-minute opening show for the NBA All-Star Game.
45 DEGREES is proud to produce a unique performance during
player introductions for the 65th NBA All-Star Game, the first
ever to take place in Canada. Its a thrilling opportunity to
offer the international NBA community and fan base a jaw-
dropping, never-before-seen experience, powered by the magic of
Cirque du Soleil. The theme, the music, the costumes and the
various acts are all designed to celebrate everything that makes
basketball great. Our team has created an exclusive experience
for all spectators to enjoy. This is what we do at 45 DEGREES,
explained Yasmine Khalil, the companys president.
45 DEGREES will tell the story of basketball through the lens of
Cirque du Soleil. Weaving together acrobatics, dance and
technology, the performance will amaze the audience and take
them on the journey of a basketball dream. The show is a tribute
to basketballthe game, the dream, its heroes and the culture.
It will resonate with diehard NBA fans and spectators alike and
engage them in the timeless tale of living your dream.
45 DEGREES has built a unique show specifically for NBA All-
Star. This is how 45 DEGREES works with clients the world over
to provide customized entertainment for corporate and private
events.
Always mindful of the ROI beyond entertainment, 45 DEGREES has
created tailor-made events for customers like Microsoft, Fiat
and Glade, to name a few, added Ms. Khalil.
45 DEGREES would like to thank its many partners, specifically
Steve Bolton, the shows designer, stage director and
choreographer, Normal Studio, video-mapping designer, makeup
artists from MAC and composers from YUL Music.
{ SOURCE: 45 Degrees | http://goo.gl/cpzBN3 }
François Barbeau, Costume Designer for
Dralion/Wintuk, Has Died
{Jan.29.2016}
-------------------------------------------------------
François Barbeau, the renowned costume designer from Montreal,
has died at age 80.
Barbeau worked on more than 700 theatre, dance, film,
television, opera, and circus productions in Quebec and abroad.
As a professor at the National Theatre School at the Université
du Québec à Montréal for 25 years, Barbeau influenced a
generation of costume designers. Until his death, Barbeau had
been perfecting the wardrobe for the Grands Ballets Canadiens
annual production of the Nutcracker since 1987.
Barbeau was prolific as a costume designer from the early 1960s
to his death. He was the official costume designer for Théâtre
du Rideau Vert in Montreal, where he worked on over 150
productions. Barbeau also collaborated with many other theaters
in Montreal, including the New World Theatre, New Theatre
Company, The Threepenny, Centaur, Compagnie Jean-Duceppe,
Théâtre dAujourdhui and the National Arts Centre in Ottawa.
In film, Barbeau designed the wardrobe for Kamouraska, Atlantic
City, Léolo, New France and Laurence Anyways. Including The
Nutcracker, Barbeau collaborated on several productions with
Grands Ballets Canadiens, and costume designed around 20 ballet
productions in total.
Barbeaus work extended into the circus, including two shows
with the Cirque du Soleil Dralion in 1999 and Wintuk in 2007
Barbeau also worked with Robert Lepage on two European
productions of La Célestine in 2005 and the opera A Rakes
Progress in 2007.
Barbeaus received the Governor Generals Award in 1996 and the
Order of Canada in 2000 for his lifetime achievement. For his
work in theatre, Barbeaus talent and versatility have won him
many awards, which culminated in an honourary Masque in 2000
from the now defunct Quebec Academy of Theatre. In film, Barbeau
won several Emmy awards, including one in 1971 for Claude
Jutras feature film, Kamouraska, and another in 1999 for the
Cirque du Soleil show Dralion.
{ SOURCE: CBC | http://goo.gl/joVfdn }
---------------------------------------------------
Q&A - Quick Chats & Press Interviews
---------------------------------------------------
Meet Nikolai Liubezny, TOTEM Russian Bars Performer
{Jan.08.2016}
-------------------------------------------------------
Irina Terehova of MTL Blog got a chance to speak to Nikolai
Liubezny, an established Cirque du Soleil performer, who was
kind enough to offer her a sneak peek into the circus life.
Q. How did you become a circus performer?
I did acrosport for almost 15 years. First, my brother started
performing for CDS. When he came back home after one year of
tour and showed me a video tape of his performance, I said to
myself, I want be there! It took me about 3 years to get to my
goal. First, I visited my brother in Houston, TX with my mom. I
did an audition there for Big Top. My mom spent 10 days shopping
and sight-seeing while I was training non-stop. My 10 day
discipline was called Russian Bars. After 10 days, I did a
video and sent it to casting in Montreal. After waiting for some
time, I got another audition in Vitebsk, Belarus. I passed that
one too. Finally, after 3 years, they invited me to General
Formation, where they teach us acting classes, discipline,
choreography, clown classes, doing make up, etc. And after 3
months of General Formation I got my first contract with Alegria
show!
Q. Describe your typical day
When I am on tour, working days look like this: I wake up around
10 or 11 am, have breakfast, run some errands, answer emails,
etc. After, I go have lunch to Cirque. We have a kitchen there.
Then I go and do my own training. After that, I do my make up
for the show (we do our own makeup), warm up and start the first
show. A show lasts for about two hours and thats when
everything becomes a jungle: costume changes, running
everywhere, going on stage
After the show, we get a break for
about an hour. I try to have some snacks and then warm up for
the next show. Some people prefer to rest and take a nap. Once
the second show is done, I remove make up and go back home to
have dinner, rest, sleep
my day normally finishes around 3
a.m., because I cant go straight to bed, my body stays awake
and full of adrenaline from the performance.
Q. Do you follow a special diet and/or workout regimen?
Diet and regimen
some people do, some dont. I, personally, do
try to eat healthy, less sugar, less fat
And I try to eat 5
times a day. So my answer is yes, I do follow a diet, but its
a personal decision. Circus wants us to look good on stage and
thats it. Its your personal responsibility how youre going to
go about it
Q. Is there a strict weight limit for performers?
Limits? Not really
but depends on the act. For example, in my
act, we have flyers (people who do tricks in the air) and
porters (people who throw and catch flyers), I am a porter. For
flyers, its obviously better to be in appropriate weight in
order to make sure everyone feels comfortable performing. For
porters, its better to be in good physical shape and strong.
Q. Rumor has it, circus performers are often romantically
involved with other circus performers within their group, is
that true?
Most of the time, yes, because the Circus world is really big,
it takes over your life. Our days are pretty much full and we
need a lot of rest
so most of our time is spent at work and a
lot of performers end up dating other performers. Its not just
common at CDS, its like that at a lot of circus companies
around the world. Its another world, land
People from the
industry understand each other easily, meet each other on
different stages or even work in same act. Its a lot of family
dynasties too. But we also have some people whove never been in
circus. Id say 70% of performers are actual families and 30%
new comers.
Q. Does the average salary rate change depending on the act or
every performer is roughly making the same amount of money?
Yes, salary changes in a couple of ways. It can depend on the
act: solo, group act, musicians, clowns, main character in the
show
all have different starting salaries. It also depends on
how long youve been performing or how popular you are as a
performer. The more professional you are the more you get
paid. If youre very popular and acclaimed you get a bigger
salary from the start. After you sign a contract, for your next
one, your salary is going up by 2%. I believe all big companies
have this policy.
Q. Where do you live when Cirque du Soleil moves from country to
country?
We live in good conditions. Sometimes its inside the cities,
other times its outside of the cities, but we live in good
hotels and apartments. Cirque tries to arrange the best stay for
us.
Q. What happens when you get injured during practice or during
the actual show?
If someone gets injured, first they have to see a doctor
wherever we are working at the moment. After that, they normally
send them to Montreal to recover. A couple of years ago, if we
needed surgery, they would let us go home (where were from or
where were located) and do all the necessary procedures there,
until the doctor would consider us ready to go back to Montreal,
where we would finish recovery and smoothly transition into
training process again.
Q. How long is your vacation and what do you do in your spare
time?
Vacations
sounds amazing
we have an official break for 2 weeks
per year. But between cities or countries where we get to work,
we have one additional week off. You can decide if you want go
to the next city to perform or you can go anywhere else in the
world. But you need to be back at work on a specific date.
Normally, we try to take advantage and explore the country where
we are performing in. Were very lucky and its a lot of fun.
After working for CDS for almost 13 years, I actually cant
imagine having to stay in one place and not travel every two
months.
{ SOURCE: MTL Blog | http://goo.gl/cPBxAc }
Leona Lewis joins Cirques One Night for One Drop
{Jan.19.2016}
-------------------------------------------------------
X Factor winner Leona Lewis, the singer-songwriter with the
amazing four-octave, mezzo-soprano vocal range, has sold 20
million albums since she won her $1.3 million recording contract
with Simon Cowells record label from Season 3 of the hit
British TV show. Now the 30-year-old animal-welfare campaigner
is about to make her debut on the Las Vegas stage as the star
headliner of Cirque du Soleils One Night for One Drop
fundraiser March 18 at the Smith Center.
Leona gave a preview of the fourth-annual, one-night-only event
during rehearsals at Zarkana Theater in Aria that a select group
were invited to watch: For the first time since these
celebrations to benefit those across the world without access to
safe water in addition to Southern Nevada projects, artists from
other Las Vegas shows, including Jubilee at Ballys, will join
with Cirque performers as the 100-strong cast. Its about 50-
50, new director and former The Beatles Love at the Mirage
performer and choreographer Hassan El Hajjami said. (French-
Moroccan artists Hassan, 38, goes by the stage name Haspop.)
Leonas other guest star will be Mice from the hit ABC comedy
Black-ish played by 9-year-old hip-hop dancer Miles Brown, who
embarks on a quest for water emulating the directors own story
of his grandmothers water woes in Morocco. Miles also is known
as Baby Baby Boogaloo. He plays the adorable 6-year-old twin son
of Rainbow Johnson in the series played by Diana Rosss
daughter, Tracee Ellis Ross.
Here is Robin Leachs Q+A with Leona:
Q. When Cirque approached you, did you fall in love with their
shows, or was it their message about global water needs?
It was both really; I think it was quite equal. First of all,
Cirque du Soleil is very inspiring for me as an artist. When I
put on my shows, I definitely like to have a certain amount of
theatrics just for it to look beautiful, and a lot of the Cirque
shows have inspired that. I was, like, Wow, this is going to be
amazing. Then when I read up on One Drop and what theyre doing
to ensure fresh running water around the world, obviously
theyre doing amazing things, so I wanted to get involved.
Q. Where does your remarkable voice come from?
My dad says its him! I dont know, really. I just always sang
as a little child. Ive always honed in on my singing because it
was something that used to make me happy, as I didnt really fit
in much as a child. I used my voice as a way to escape things.
Q. What Cirque shows have you seen?
I think Ive seen all of them apart from Michael Jackson One
and Zumanity. I havent seen a One Drop show before. Ive
seen clips of it of last years and the year before, but I
havent been present in the audience before.
Q. Its a remarkable, emotional night. It really drives home the
fact that there are still people living in the world who
cant turn on the tap and get H2O out of it.
Its crazy. Definitely as an artist obviously coming together
and bringing music to create awareness, these are the things
that fulfill me. This to me is meaningful, this is what I want
to be a part of. I feel like sometimes you just get caught up in
what youre doing, but when I get to do stuff like this that
speaks to who I really am, I love to be involved.
Q. You sang one song today. How many songs do you do in the
entire show?
Im going to be doing two songs in the entire show, then Ill be
making an appearance throughout, so were working on that now.
Im in the show throughout, but not singing all the time. Im
part of the dream-like sequence.
Q. Hows it feel to be an English girl in America? Do you live
in America now?
I live between London and Los Angeles. I go back and forth a lot
because a lot of the people I work and write with are in L.A.
There are actually a lot of British people, which is nice, so I
dont feel too far away. I always have the option to go back
home because I love being close to my friends and family, and I
do get a little bit homesick. For this show, Ill commute
between L.A. and Las Vegas, but you do have a direct flight to
London if need be. I like Las Vegas. For me, recently, its been
to see the Cirque shows. I dont really do much of anything else
when Im here apart from watch the performances. Im going to
come back and see Lionel Richie because we have the same
manager, and I want to see the J.Lo show. I like coming and
seeing performances because the productions in Las Vegas are so
epic. You just dont get shows like that really, for production
value, anyway. Theyre almost as epic as a Cirque spectacular.
My favorite was Celine Dion.
{ SOURCE: Robin Leach, Las Vegas Sun | http://goo.gl/hmce8t }
Robin Leachs Q&A w/Hassan El Hajjami ONOD 4 Director
{Jan.20.2016}
-------------------------------------------------------
This years annual Cirque du Soleil one-night-only spectacular
One Night for One Drop: Quest for Water has several new
elements. Its the first time that performers from other Strip
productions will join Cirque artists. Its the first time that
British singer-songwriter Leona Lewis joins the cast along with
young dancer Miles Brown of ABCs Black-ish.
And its the first time that former The Beatles Love at the
Mirage dancer and choreographer Hassan El Hajjami will be the
shows artistic director, and because he speaks from experience
of caring for his grandmother in a water-less village in
Morocco, the show will be named Quest for Water. In fact, in
his contract with Cirque, he won the right to a funded water
system for her village so that the residents there would have
running water.
About 100 artists 50 from Cirque and 50 from other Las Vegas
shows, including Jubilee at Ballys will team up as the cast
for the March 18 performance at the Smith Center. Its an all-
volunteer cast and crew with rehearsals now under way at the
Zarkana stage at Aria led by Hassan, whose stage name is
Haspop.
Q. This is quite the journey from a tiny, no-water village in
Morocco to Las Vegas, Hassan. We, too, are a city in the
desert!
Yes, it is. I have a story. When I was young, I was visiting my
grandmother in Morocco. I was shocked by the fact she didnt
have water at home. I had to walk with her to the well every day
to bring water back home. I was shocked because I was living in
France, and its the same in America we have everything. You
have water, you brush your teeth, you wash your food, you do
dishes, you bathe, everything. In Morocco, she didnt have any
access to running water in her home. Her quest, my quest for
water, became the theme for this new fourth One Drop show. She
lived in Moulay Yacoub, a smaller village in the center of
Morocco. We had a donkey, and I walked with her three miles to
the well. It was six miles back and forth every day.
Q. You were born in France, lived in Morocco and made it to
America and Cirque?
Yes, born in France, and I live in America. I came to Cirque for
The Beatles Love show at the Mirage. I was cast in 2005. I
performed 2,000 shows from 2005 to 2009 and ended my run there
in June 2009. Afterward, I went to Los Angeles, where I did
Americas Got Talent, then Frances Got Talent as a hip-hop
dancer. I went on tour because I was very popular in Japan, Hong
Kong and Venezuela. Cirque called me back to take part in an
earlier One Drop show and for the opening of Zarkana here
and their show at Kodak Theater in Los Angeles. Then back to
Paris for the big TV show The Star. I was the coach and judge
of 14 kids who had to sing and dance with a celebrity.
Q. You were selected from your submission for this years One
Drop. How do you make it different from the past three
years? Is that the biggest challenge?
What I put onstage is my personal story. I think its powerful.
All the directors have very different views. Im French-
Moroccan, so I think I have this side of a French-Moroccan view
with European theater, too. Were going to see how powerful I
can make the message within the entertainment. Im confident but
very stressed out! Im going to put all my energy and effort to
have the best show so I can help to have clean water for the
charity and the children.
Q. Your village back home in Morocco now has water?
My contract with Cirque when I was working at Love was I was
able to provide for my family. We have running water in the
house there now. My grandmother passed away three years ago, but
she got to use the running water.
Q. So that is the dream, the vision of the new show? Your
personal experience sparked it all? Nine-year-old hip-hop
dancer Miles Brown, who plays Mice on ABCs Black-ish,
emulates your own story?
Thats the vision of when I was a little boy walking for water.
I put some dream sequence into it because the child is going to
fall down the water hole. He gets to see the world of his
imagination, and hes going to go through a troubled world.
Maybe hes going to come back. We will find out on March 18
whats going to happen.
Q. You saw One Drop last year under another director, and now
youre moving out of a Cirque home-base theater and into the
Smith Center. There are a lot of different things this year?
For me its a challenge to have the Smith Center because its
not a Cirque stage. Fortunately, Im from Europe where the
theater is a black square, so that part is normal. So far we
have 100 artists, and half of my cast is from Cirque, the other
half is from other Las Vegas shows. We did a workshop audition.
We selected 50 from the 300 people who came. Its a mix and
match of artists, including with a Jubilee dancer right after
their show closes Feb. 11.
Q. Is difficult to take people who are not Cirque and put them
with Cirque?
They have the opportunity to work with us and to be able to test
Cirque: How it goes, how we work on staging and choreography. I
think its a big experience for them, and they can be seen by
casting people from Cirque and maybe get cast from their current
job to be put into a Cirque show. There are different
disciplines between Cirque and other shows. Everybody has been
doing well, though. We have a nice cast. Thats why we did this
audition, to find the best. I didnt take an artist just because
they are an artist. I chose them because they have charisma and
express something I would like to have onstage. Its like more
like expression. You can be the best at what you do, but onstage
its very different. You have to have this explosion of
happiness and shine. You have to shine onstage. Im very picky
on how I choose my artists.
Q. How many choreographers for this years One Drop?
So far four because Im also a choreographer. We have an African
choreographer, we have an aerialist choreographer and dance hip-
hop choreographer and me. I do a little bit of everything.
Q. I always think for One Drop, it starts out sad because you
drive home the terrible realization that there are people in
the world who do not have water, not even access to it. Does
it end on a happy note here?
It ends on a happy note, but youre going to feel the sadness in
some of my tableaux because thats the reality. Im not going to
shy away from the reality of whats happening today.
Q. How bad is it for somebody who turns on the tap and realizes
that theres no water? How bad is it to live without water?
I was living with water in France and America, but when I was in
Morocco, I was asking, How is it possible that you dont have
any water at home? I was shocked. Its so bad because you
usually have water at home, and thats it. You can do whatever
you want. My grandmother was old and walking to get water. It
was bizarre. When I see my own kids opening the tap, I ask what
theyre doing and to calm down because we dont have water in
Morocco. I explain to them how its bad to not have water. You
have to be careful how you use water today. Thats the message,
but it does end on a happy note. Leona will sing for the last
song, and its going to be a happy song.
{ SOURCE: Robin Leach, Las Vegas Sun | http://goo.gl/3amFzB }
Robin Leachs Q&A w/Jerry Nadal Resident Show SVP
{Jan.20.2016}
-------------------------------------------------------
In addition to speaking with Hassan and Leona, who flew in last
week for her song rehearsal, Robin Leach had an opportunity to
also speak with Jerry Nadal, Senior VP of Cirques Resident Show
Division. He revealed that the new show TORUK-The First Flight
inspired by James Camerons Oscar-winning Avatar may be coming
to Las Vegas soon
Q. What is the process of selecting an artistic director to take
control of the entire show?
Our assigned producer really knows all the casts and crews of
Cirque here in Las Vegas. Now that weve done this three times,
there is a lot of interest in it. We had 12 submissions this
year for directors, and we ask them to come up with the show
concept. We interview everybody, and they lay it out. This year,
Hassans just jumped to the top of the pack. It really
resonated. We thought that we could easily see his story being
on the Smith Center stage.
Q. Other than the fact that its his personal story, what is the
setting?
Its set in a village where we have one of the One Drop
projects running. Its village daily life. Its a take on Alice
in Wonderland. Hassan told us when he was a kid, they were
constantly drilling wells looking for water. But once a well is
drilled out, they dont fill it in after its empty. So youll
see an image at the beginning of the show where all these women
are standing around a hole. He told us theres a lot of wailing
because a kid fell into the well, and, more often than not, they
died.
Q. And that explains Mice from Black-ish?
Yes. Hes the kid, and he falls down the well, then its his
story. He tries to get out of the well coming across all these
areas, stories and regions. It allows us to go after telling the
story of what things are like with and without water.
Q. Its interesting that it is 50 Cirque characters this year
and 50 people from other shows in Las Vegas. Is this the
first time youve gone outside the Cirque family?
Weve had other guest artists over the past few years, but not
to the extent that we do this time. Theres a lot of interest in
the project for people who live in Las Vegas who want to donate
their time. Thats huge.
Q. How much money have you raised to date from these One Drop
one-night-only shows?
In three years, weve raised $17 million. This year, our goal is
$7 million. Last year we did a little over $6 million.
Q. Hassan told me that one of the contract points in his
agreement was that running water came to the village where he
went and lived with grandmother.
Yes, absolutely. Once again this is a very ambitious
undertaking. Its more ambitious than staging one of our own
Cirque residencies. Theres more time to do those. This is all
volunteer, and we get to rehearse it in bits and pieces and
dribs and drabs because everybody is working on other shows. We
really only get two full run-throughs with everybody together at
the same time, and then, bang, were on its show time. Its
nerve-wracking every year, but the payoff is fantastic. Its
worked somehow really well the past three years.
Q. Its always been a success, so why the decision to leave a
Cirque theater and go to the Smith Center?
We really wanted to broaden the regional appeal of the
foundation. I think by keeping it at one of our theaters, its
still MGM and so centric. By putting it at the Smith Center, we
have more people interested in buying tickets as it has become a
community event. It allows us to talk about the One Drop
Foundation outside everything else that were doing and all of
our own trappings. Well bring the artistic and creative down
there with us to do it. Its a magnificent space, as you know. I
cant wait to see how theyre going to fully utilize it. I know
we will.
Q. Theres a sadness about rehearsing in the Zarkana theater
as its about to end its run and become a convention center.
Zarkana vanishes from your Las Vegas lineup. Will there be
another Cirque show for Las Vegas?
Im sure at some point down the road. Were refreshing the shows
now, and I think as other contracts expire, were always in
discussion with MGM about whats the nextthing coming? Is that
still making money for us? The rest of the lineup is doing very
well, so nothing immediate. But thats not to say
not maybe in
Las Vegas, but with MGM going to Springfield and Washington,
D.C., weve been talking to them about other opportunities in
other places that theyre going. Theyre a good partner for us,
but well probably see another show here at some point. Were
exclusive in North America to MGM.
Q. Whats the newest Cirque show corporately?
We have Toruk: The First Flight based on Avatar as an arena
show. You sit in that arena, and you dont know where all this
stuff is coming from. The projection mapping and changing
scenery, its as if the movie has come to life. Its director,
James Cameron, was very involved in the process
Q. Is there a possibility that it could come to the new T-Mobile
Arena?
MGM executives have gone to see it. It could easily get I think
a two-week booking here. Its too big for Mandalay Bay, so it
would either be MGM Grand or the new arena because it takes up
the entire space.
Q. Your founder, Guy Laliberte, sold Cirque last year, so a new
corporation owns the company. Is Guy still involved?
Yes. We have other owners running the business piece of it, but
they very wisely kept him on the creative end, which is really
what he loved anyway. Hes been around for all of it, which is
great to have. When youre on a new show, you see him a lot.
People on the new shows will see him more, or when were
refreshing a show, hes around more for his creative input. For
the One Drop shows, though, he says he never wants to see it
until it opens. That can be a little gut-wrenching.
Q. Have the new owners given their blessing for the One Night
for One Drop shows to continue here?
They completely support it, all of the One Drop initiatives, in
fact. They came and saw the show last year and are very
supportive of it.
{ SOURCE: Robin Leach, Las Vegas Sun | http://goo.gl/3amFzB }
Meet Giulia Piolanti Tsyal in TORUK-The First Flight
{Jan.20.2016}
-------------------------------------------------------
Theres a certain mystery behind being a circus performer and
Toruk aerialist, Giulia Piolanti, sheds some light for us.
Q. Tell us about your role on the show?
I play Tsyal, a young woman, fearless and strong. Shes the link
with the two boys to help them on their quest. She comes from
the Tawkami Clan, performing a solo Tissu act while she collects
the special seeds that are one of the key objects needed. Shes
extremely elegant in her feline movements. As an older teenager,
shes pretty stubborn and she goes against her clan and her
father because she believes Ralu and Entu. She doesnt want to
miss the opportunity to be part of this journey with them.
Q. How demanding physically is your role and chosen career as a
performer?
The biggest difference between this role and other Cirque du
Soleil shows that Ive done is the time I spend on stage. My
energy in this show has to last for basically 70 minutes, while
in other productions my involvement in the show was 5 minutes in
a solo number. Here I have to be realistic and present in my
character for the whole show. In addition to that, my physical
performance includes lots of running, jumping, climbing, and a
solo Tissu Act.
Q. Whats the process for your show preparation?
At the moment we work four days a week, from Thursday to Sunday.
The days are pretty long, starting at about 11 AM. The first day
of the week is all about validations for all the acrobatic
equipment we have in the show. On the weekend, we perform two
shows daily. The makeup is an important section of the day
because it takes between 1 1/2 hour and 2 hours and its
definitely the first step that makes you feel you are a Navi.
Another difference for me on this show, is my costume is full of
wires. That takes a little bit of time as well. Because I talk
during the show (Navi words), I have a mic. And to constantly
have a follow spot on me we are using a new technology called
BlackTrax that requires sensors be placed in my costume. Of
course as a performer the warm up moment is essential and
usually it takes 45 minutes before the beginning of the show.
From when I start my makeup its about 3 1/2 hours to fully be
ready to step on stage.
Q. Whats it like performing for you personally with Cirque?
Its been 8 years that I work for Cirque du Soleil and this is
my third production. And I still feel the same enthusiasm and
passion like I did the first day that I stepped on stage with
the company. Its an amazing company to work with and I could
not desire anything better.
Q. What is it about this particular show that audiences will
fall in love with?
TORUK gives to people two hours of visuals that youve only seen
a dream. In this 21st Century, this show can bring hope. The
beauty of the world is still there, we just need to see it and
protect it.
{ SOURCE: Allie Hanley, Houston Examiner | http://goo.gl/dWPgkN }
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SPECIAL ENGAGEMENT - More In-depth Articles
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Costume Design of Cirque du Soleils Toruk
{Jan.08.2016}
-------------------------------------------------------
Cirque du Soleils latest production, Toruk The First Flight,
is an immersive touring spectacle that brings to the stage the
world of James Camerons AVATAR in new and exciting ways. This
mythical tale is set thousands of years before the events of the
AVATAR film, long before humans entered Pandora, and centers on
the journey to ride the mighty red and orange predator that
rules the Pandoran sky. Acclaimed costume designer Kym Barrett
was tasked with creating this beautifully adorned world. Barrett
is well known in the world of fantasy design for film, with such
credits as The Matrix, The Amazing Spider-Man, and Jupiter
Ascending. And she has previously collaborated with Cirque du
Soleil on the touring production Totem. She shares with us an
exciting look at her process in envisioning this richly
imaginative story!
SEE THE AMAZING PICTURES THAT ACCOMPANY THIS ARTICLE HERE:
< http://www.cirquefascination.com/?p=7365 >
Where does one begin with such an imposing task, with a built-in
fan base with such strong visual expectations? The director and
the team created a story that lives within the world of Pandora,
but was not limited to replicating the film. Barrett explains,
I wanted to reflect the Pandoran world of the film and respect
its parameters, while also heightening the visual narrative for
a Cirque experience. We are telling the story of the first
Toruk Makto as a mythology. We have some license to push the
images. The team relied on the film and the film teams
original source material to establish rules, including the use
of bioluminescence, the idea that everything they wear is made
by hand from natural fibers, and no metal!
The first challenge for Kym and the costume team was to
transform the very physical Cirque performers into the blue,
elongated, cat-like shape of the Navi. This is no easy
challenge, as acrobats tend to be medium in stature and very
muscular. They utilized layers of silk-screening to achieve both
the body shaping, as well as the individual character patterns.
According to Barrett, Muscle contouring was tweaked by raising
the navel and nipples, and strongly shading the sides of the
body to create an impression of a slightly slimmer and taller
silhouette. High foreheads and full braided hairstyles help to
create the feeling of a taller Navi.
One of the most exciting aspects of this production is the
introduction of multiple Navi clans by way of The Storyteller.
While the film focused on the Omaticaya clan, we get a chance to
meet the Tawkami, Anurai, Tipani, and Kekunan Navi. For these
new groups, Kym looked to regional setting to help create each
clans unique identity. Indigenous plants and materials served
as the initial inspiration, but the performers own physicality
played a large role. She explains, As each set of acrobatics
started to evolve it gave me a better idea what I could and
couldnt do with them. So their looks really evolved out of the
practical as well as the environmental aesthetics.
The costumes of the Omaticaya clan took inspiration from the
film, but because these events occur thousands of years before,
they are not quite as sophisticated. Instead of animal skins, we
see them in woven garments. They are also far more colorful, a
necessary element due to the scale of the live performance
venues.
One of the central characters, the Shaman, is a member of the
Omaticaya clan and has one of the most elaborate and stunning
costumes in the production. Barrett drew inspiration from the
giant dream catcher-type object in the film, and incorporated it
into her headpiece. The shape of the skirt is meant to mimic a
funnel or vortex, which is the function the Shaman serves as a
spiritual vessel for the clan. She also incorporated weaving and
embellishment inspiration from North American native tribes.
The Tipani clan hails from a quiet, austere place. Barrett was
inspired by her frequent trips to China and the dusty,
mountainous, barren regions. Barrett relates them to warrior
monks and describes them as the productions most combative
clan. They are costumed in armor and carrying shields that are
made from the shells of a large beetle like animal with a
beautiful, almost metallic blue and yellow sheen.
The Tawkami are the most colorful of the clans. Theyre kind of
like the chemists of the world, Barrett explains. They use
flowers, compounds, and organic matter to make medicines. All of
their costumes are made from flowers, seeds, or vines that are
woven together.
The Anurai are a desert people. Their clothing is made of some
kind of animal hide. There isnt an animal yet that exists like
that. There will be at some point. So we invented our own animal
skin. The Anurai also use the bones of different animals and
carve them as decorations for their costume. Barrett describes
them as the artisans of the Navi. They also utilize a mother
of pearl like stone from their realm for embellishment. Woven
headpieces top off their look, formed by the bristly manes of a
desert animal.
Lastly, the Kekunan are a Navi clan that live near the ocean.
They fly the banshee, bird like animals, and lead the main
characters to find the Toruk. Their costume is made from the
dried leaves of the war bonnet plant. They are embellished
primarily in red accents, which are made of shells and different
objects found in the water.
Creating the costumes for a Cirque du Soleil production is no
easy task. There are 115 costumes in the show, and the costume
department produced more than 1,000 items, including shoes,
headpieces, and necklaces. To create the extraterrestrial
flora of Pandora, the costume team used loofah sponges, molds
from cabbage leaves, crinoline, open weave horsehair, linen and
braided wool to amazing effect.
{ SOURCE: Joe Kucharski, Tyranny of Style | http://goo.gl/w7KJpE }
When work is a Workout
{Jan.08.2016}
-------------------------------------------------------
At the risk of sounding like a hipster, I liked Cirque du Soleil
before it was cool.
It was 1994 in Vegas when I attended their "Mystere"
performance. I remember seeing a man do a one-armed handstand,
on a cane, atop a single pole that towered out of a hastily
constructed pyramid of giant-size tinker toys. I held my breath
frequently, certain someone would fall and break something
important.
Recently I saw Cirque du Soleil perform "Amaluna" in Calgary,
Alberta, my fourth time seeing the Montreal-based circus troupe,
and again they did not disappoint.
There were unicycles and undulating tight ropes and trapeze,
balancing acts and back flips, juggling and jocularity, all to
original rock music with sensational singing and great guitar
and drumming reminiscent of Rush.
Acrobats flew. Dancers moved with inhuman grace. A love story
unfolded. Through it all I found myself wondering, "How is it
that they are all so good looking?" (Awesome costumes aside.)
Turns out, they all look so great because the working out
doesn't end when the show does.
BALANCING ACT
"I work out several days of the week outside of the
performances," says Melanie Sinclair, a 25-year-old former
competitive gymnast from Orlando, Fla., who does an uneven bar
performance for Cirque du Soleil. "Including the eight to 10
shows a week, it's about 30 hours of training each week."
Sinclair, who began gymnastics when she was 6, is always on the
move, doing about 30 minutes of treadmill running or elliptical
trainer each day. She also bikes to work each day. "I have my
own bike I bring on tour," she told me. On top of this is a lot
of stretching. "We receive a large quantity of videos and
resumes," "Amaluna" company manager Jamie Reilly said of the
competition to be part of the show. "We have casting agents,
hold auditions and have a scouting team that will go to the
Olympics and gymnastics competitions to find talent."
And it's not just amazing physicality they seek.
"There is a large acting component," Reilly said. "We need to
select the right people to provide the wow factor during the
show." And that wow factor takes time to develop. Sinclair spent
nine months of full-time preparation and rehearsals before
"Amaluna" launched in Montreal. And performers new to Cirque du
Soleil quickly learn how physically demanding it is.
"Since coming here I've realized that cross-training is very
important," said Amy McClendon, the main dancer (the peacock
goddess) in the show. "I do the elliptical on high resistance to
keep my legs strong." Pilates classes are provided for the
performers by the troupe. "They bring someone in locally,"
McClendon, 26, said. "A lot of the performers do Pilates. It's
been like gold for me."
PATHS TO THE BIG TOP
McClendon attended the Alvin Ailey School of Dance in New York.
Before joining Cirque she performed musical theater on Broadway.
She found her new role required a higher level of conditioning.
"There is a lot of physical exertion, even just having to change
costumes," she said. "There is a whole other physical
performance going on backstage."
While some performers have previous careers that lend themselves
to joining this circus, others go to school for it. "It was four
years of Cirque university," straps performer Andreanne Nadeau
told me of attending L'Ecole Nationale de Cirque de Montreal to
obtain a diploma in circus studies. "It was five to seven hours
of training every day. There is also theory, physiology,
psychology, career management and a second language."
Nadeau has impressive musculature, and she needs it. "I am a
Valkyrie in the show," she said. "It's a highflying act using
aerial straps. It's mostly upper-body strength." Nadeau started
dancing at age 4, but she also played basketball and football
and took part in track and field. She didn't go to circus school
until later in life. "I didn't join until I was 25."
STAYING HEALTHY
And at 31, Nadeau isn't worried about the ticking clock for a
career that might seem more conducive to youth. "We have
performers who are over 50 in Cirque du Soleil," she said.
All the performers I spoke with are concerned about career
longevity, and so is Cirque du Soleil, which is why two
performance medicine therapists travel with the "Amaluna"
troupe, both of whom have master's degrees in sports medicine.
"We research the various performers' disciplines and the body
mechanics that are necessary," Chad Fraser said. Because joint
injuries are common, the therapists focus on strengthening the
small internal muscles around these joints. "We also train the
muscles in different joint spaces so that if unexpected movement
happens, we prevent injury from taking place."
As it turns out, most of the injuries are from overuse. "It
comes from doing the same thing every day," Fraser said. "But
the performers are pretty good about taking care of themselves."
"Most of my injuries came from my gymnastics years," Sinclair
said. "Here the goal is to make sure you last. It's not just a
hobby or a sport, it's your career. You need to be smart."
On top of the physical therapy guiding the performers movements,
there are also coaches traveling with the show. "We have a coach
for our act specifically, and there is another coach who
oversees all the acts," Sinclair said. "We have a lot of
guidance from the coaching staff and artistic director to help
us continuously refine the show and make it better."
I can verify this. Backstage, I saw two large whiteboards filled
with written critiques of previous performances. This is a show
that's been live for a year, and still they're trying to make it
better. And even though performers live a life of near constant
physical exertion, motivation to go on the stage is always high.
"Like any job, you look forward to vacation," McClendon said.
"But because it's performing and something I love doing, there
is a motivation that will never go away, even when you're
tired."
{ SOURCE: James Fell, Chicago Tribune | http://goo.gl/Mwg8Ic }
Cirque Reorganizes to win over Broadway, China
{Jan.15.2016}
-------------------------------------------------------
Canadian-based Cirque du Soleil, acquired last year by Chinese
and US investors, has undertaken changes that have been
criticized internally but which should allow it to win over
Broadway and China.
The first fallout from this takeover was announced this week by
Cirques chief executive, Daniel Lamarre. In a letter to the
approximately 4,400 employees, he warned that major changes to
the corporate structure were underway. In particular, staff are
grumbling because now the chief operating office is a corporate
lawyer.
Two of the companys longtime leaders, chief operating officer
Charles Decarie and chief financial officer Eric Marceau, left
the company. Less comfortable with the new environment,
Lamarre said of their departure. It is normal when there are
changes of ownership that adjustments be made, he told AFP.
The departures have sparked a great unease internally among
managers and among employees who are not fond of the new
direction advocated by management, public broadcaster CBC
reported, citing sources in the company. In particular, the
replacement of Decarie by corporate lawyer Jonathan Tetrault,
who is more adept at finance than entertainment, irks staff who
view their work as performance art.
The Cirque has always been balanced between business and
creation, but now everything is focused on business, an
anonymous source close to the matter told Radio-Canada, CBCs
French-language sister station.
Lamarre retorted that Cirque du Soleil has reached the global
fame it enjoys because of its creativity, not because of the way
its business side is run.
Evidence of how the new Cirque owners have bought the company
to grow it is that its payroll has increased 10 percent since
the takeover, said Lamarre. The Cirques poor financial
performance in recent years had led to the dismissal of 1,000
employees as part of a restructuring before last years
takeover.
With a new show unveiled in April in Montreal, and another
launched on Broadway on May 25, We are in a mode where its
full on at the creation and production, Lamarre commented.
Cirque du Soleil will debut on Broadway in New York with Par
Amour, but it is especially eying the Chinese market for new
shows. Were opening an office in Shanghai. China is becoming a
priority market for us, said Lamarre. China has a very old
tradition of acrobatic circuses. The market will thus be more
difficult to conquer.
Inspired by the film Avatar from James Cameron, the new show
Toruk attracted a record crowd at Christmas in Montreal,
before it hits the road in the Middle Kingdom in 2017.
Avatar the film was a runaway success in China and we think
this is the right show to establish the brand of Cirque du
Soleil in China, says Lamarre. Subsequently, we have four,
five shows in development, and I hope that in five years we will
have a permanent presence of two or three new shows out there,
said Lamarre, who is eager for the Cirque to cross all cultures
and into all markets.
{ SOURCE: Clément Sabourin, AFP }
Changes Now Underway at BELIEVE, LOVE, and
O?!
{Jan.19.2016}
-------------------------------------------------------
Changes are underway at three Cirque du Soleil shows on the
Strip thanks to Mindfreak magician Criss Angel and The Beatles
widows Yoko Ono and Olivia Harrison.
Were going to be major overhauling the Criss Angel BELIEVE
show with him. Hes bringing in all-new illusions, new lighting,
new costumes, and were probably going to do a name change,
too, Jerry Nadal, Cirques senior VP of resident shows, told
Robin Leach. Well close in April for a couple of weeks. We
already have a week dark, then well close an extra week and a
half and come back in early May. It will be 70 percent
new.
Hes already begun rehearsals for the new show. I dont know how
he does it. Somehow, he has found a 28-hour workday, and Id
love to have his secret because I would love to have those extra
four hours. He doesnt sleep. Hes amazing. Hes driven. I think
the new show will be good for him and great for the brand. Were
in our seventh year, so theres three more to go on the current
contract.
Jerry also confirmed a major refresh for The Beatles Love at
the Mirage ahead of its 10th anniversary this year with Paul
McCartney and Ringo Starr set to attend. LOVE is undergoing a
major refresh right now. Well go down mid-February and come
back at the end of February with a whole refreshed version of
the show, then have a grand celebration probably in June, said
Jerry in our interview. Were going to add elements over the
next couple of months, technological stuff, then in June well
do another red carpet event around Paul McCartney and Ringos
schedule for the 10th anniversary. Yoko and Olivia have been
quite involved, Paul and Ringo at more of a distance, but the
women are very involved in it. Theyve been around all the time
running support and adding creative input.
The third show that could undergo changes is O at Bellagio.
Jerry continued: Ka is in great shape. We havent had to
touch that. I think if were going to look at the next one we
may refresh, its going to be O. Weve never really touched
that. Theres a lot of repeat business in there, and even just
from the technical standpoint, there is so much other equipment
out there that we could do, like the colors of the water making
them more vibrant with projections. We played around with that
theater the first time for One Night for One Drop, so we think
of the possibilities that are in there. It gives people a reason
to come back and see it, particularly since so many people who
stay at Bellagio are big customers and have seen the show 10
times or more. Weve got to give them a different reason to come
back and see a new show. Technology has improved and changed
over the years. There are more toys on the market now.
{ SOURCE: Robin Leach, Las Vegas Sun | http://goo.gl/VyRFme }
La Forge aux Étoiles is Coming!
{Jan.29.2016}
-------------------------------------------------------
Back in November 2015, 45 DEGREES and the Futuroscope were proud
to announce a joint project to create a new evening show
entitled La Forge aux étoiles, an aquatic fairy-tale from the
creators of Cirque du Soleil. The show would be performed on a
7,000 square-meter outdoor stage through a system of laser
projections, water fountains, fireworks, and fire.
This collaboration will allow us to pool and share the creative
spirit that drives us in creating extraordinary visual
experiences, issues of marriage between technology and art,
said Dominique Hummel, CEO of Futuroscope Approaching our 30th
anniversary, this new creation is intended as a gift to our
visitors inviting them in a magical universe and unrivaled and
unique dream world, he added.
Its now ready to open!
o) THE SHOW -- A new fairytale aquatic evening show from Cirque
du Soleil. Get ready to be blown away by the big-bang
razzmatazz of visual, aquatic and pyrotechnic effects. The
constellation of fairytale scenes takes you into the magical
story of a young, real girl who meets a virtual giant with
his feet on the ground and his head in the stars.
o) THE AUTHORS -- Cirque du Soleil has created a tailor-made
show inspired by the original style of Futuroscopes
architecture and theatres that reach for the stars. It added
its creative flair to Futuroscopes technological expertise
to explore a new form of expression: a show in which the
actors are represented and perform through the magic of
images and special effects.
o) THE TECHNOLOGY -- The impressive array of technical gadgetry
that brings the brand new set design to life across the
75,000 ft² water stage features new pyrotechnics and aquatic
effects, lightshows on water screens, and innovative and
dazzling choreography between lights and lasers. The unique,
115-ft-high structure complete with screen and wall of water
are the canvas for a fairytale show beyond your wildest
dreams.
SEE THE SCHEDULE HERE:
< http://goo.gl/RN9ooG >
CHECK OUT THE IMAGES THAT ACCOMPANY THIS POST:
< http://www.cirquefascination.com/?p=7464 >
{ SOURCE: Futuroscope }
Cirques Got Talent?
{Jan.31.2016}
------------------------------------------------------
Cirque du Soleil is holding auditions in Australia and turning
it into a television event...
Cirque du Soleil is coming to Australia in February to conduct
auditions. And for the first time ever, weve decided to extend
our reach with a nationwide Auditions Roadshow promotion to
search for Australias most unique performing talent. Do you
have a weird but wonderful routine, an unusual skill, or an act
that is unlike anything weve ever seen before?
Throughout the year, Cirque du Soleils casting team auditions
the worlds most talented circus artists, acrobats,
sportspeople, singers, musicians and dancers. Information on
this standard audition process can be found at this LINK:
< https://goo.gl/i8WcSK >.
If you dont fit into one of those categories, the Australian
Auditions Roadshow is the opportunity for everyday Australians
like you to show us your creative performance talent, and to get
a taste of our audition process as part of an upcoming
television program. Cirque du Soleil has appointed guest talent
scouts to search for acts which are completely different. This
is your chance to really surprise us!
A selection of candidates from each city will be flown to
Melbourne on Sunday 14 February 2016 to perform for the Cirque
du Soleil auditions team and to potentially participate in the
television program.
CONDITIONS:
o) You must be at least 18 years old at the time of the audition
o) Must be an Australian citizen currently residing in Australia
o) Your act must be a solo or a duo
o) You will be allocated a maximum of 3 min to perform your act
o) Your act must be able to be presented with minimal equipment.
Any time required to set up equipment will be included in
your 3 minutes. There will be no rigging facilities or
technical support.
o) By participating in the auditions you agree to be filmed for
the purposes of a television program
o) Cirque du Soleil will not pay for any expenses incurred by
you in attending the auditions
AUDITION DATES:
o) Perth: Tuesday 9 February 2016, 10am to 5pm
o) Brisbane: Thursday 11 February 2016, 10am to 5pm
o) Sydney: Friday 12 February 2016, 10am to 5pm
o) Melbourne: Saturday 13 February 2016, 10am to 5pm
REGISTRATION IS ESSENTIAL
You must apply for an audition time on line by Monday 8 February
5pm. Apply early as there is a limit to the number of people
that can be registered. To register for an audition time,
complete and submit your details at this link. You will then be
contacted with details of the location and an audition arrival
time.
REGISTER HERE
< https://goo.gl/sQBPt5 >
We cant wait to discover your talent!
{ SOURCE: Audition Roadshow | http://www.auditionsroadshow.com/ }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, Koozå, Kurios, Luzia & Totem}
o) ARENA - In Stadium-like venues
{Quidam, Varekai, TORUK & OVO}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", La Nouba, Zumanity, KÀ, LOVE,
Believe, Zarkana, MJ ONE & JOYÀ}
NOTE:
.) While we make every effort to provide complete and accurate
touring dates and locations available, the information in
this section is subject to change without notice. As such,
the Fascination! Newsletter does not accept responsibility
for the accuracy of these listings.
For current, up-to-the-moment information on Cirque's whereabouts,
please visit Cirque's website: < http://www.cirquedusoleil.com/ >,
or for a more comprehensive tour listing, visit our Itinéraire
section online at: < http://www.cirquefascination.com/?page_id=6898 >.
------------------------------------
BIGTOP - Under the Grand Chapiteau
------------------------------------
Amaluna:
London, UK -- Jan 16, 2016 to Mar 6, 2016
Amsterdam, NL -- Mar 17, 2016 to May 1, 2016
Frankfurt, DE -- May 12, 2016 to Jun 5, 2016
Knokke-Heist, BE -- Jul 14, 2016 to TBA
Koozå:
Montevido, UY -- Mar 9, 2016 to Mar 20, 2016
Buenos Aires, AR -- Apr 21, 2016 to May 8, 2016
Santiago, CL -- Jun 30, 2016 to Jul 31, 2016
Sydney, AU -- TBA
Brisbane, AU --TBA
Kurios:
Los Angeles, CA -- Dec 10, 2015 to Feb 7, 2016
Atlanta, GA -- Mar 3, 2016 to May 8, 2016
Boston, MA -- May 26, 2016 to Jul 10, 2016
Washington, DC -- Jul 21, 2016 to Sep 18, 2016
New York City, NY -- Sep 30, 2016 to Nov 27, 2016
Miami, FL -- TBA
Luzia:
Montreal, QC -- Apr 21, 2016 to Jul 16, 2016
Toronto, ON -- Jul 28, 2016 to Oct 16, 2016
San Francisco, CA -- Nov 10, 2016 to Jan 22, 2017
Seattle, WA -- Feb 2, 2017 to Mar 26, 2017
Calgary, AB -- Apr 6, 2017 to May 21, 2017
Totem:
Tokyo, JP -- Feb 03, 2016 to Apr 10, 2016
Osaka, JP - Jul 14, 2016 to Oct 2, 2016
Nagoya, JP - Nov 10, 2016 to TBA
Fukuoka, JP - Feb 2017 to TBA
Sendai, JP - Apr 2017 to TBA
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
Quidam:
Aucland, NZ -- Feb 5, 2016 to Feb 14, 2016
Christchurch, NZ -- Feb 17, 2016 to Feb 26, 2016
** FINAL SHOW: February 26, 2016 **
Varekai:
Lyon, FR -- Feb 3, 2016 to Feb 7, 2016
Hamburg, DE -- Feb 10, 2016 to Feb 14, 2016
Luxembourg, LU -- Feb 17, 2016 to Feb 21, 2016
Hanover, DE -- Feb 24, 2016 to Feb 28, 2016
Antwerp, BE -- Mar 2, 2016 to Mar 6, 2016
Bordeaux, FR -- Mar 10, 2016 to Mar 13, 2016
Montpellier, FR -- Mar 17, 2016 to Mar 20, 2016
Nice, FR -- Mar 23, 2016 to Mar 27, 2016
Moscow, RU -- Apr 14, 2016 to Apr 24, 2016
St Petersburg, RU -- Apr 27, 2016 to May 8, 2016
Kazan, RU -- May 11, 2016 to May 15, 2016
Chelyabinsk, RU -- May 18, 2016 to May 22, 2016
Togliatti, RU -- May 25, 2016 to May 29, 2016
Sochi, RU -- Jun 2, 2016 to Jun 5, 2016
Zaragoza, ES -- Jun 29, 2016 to Jul 3, 2016
Santander, ES -- Jul 3, 2016 to Jul 10, 2016
Granada, ES -- Jul 13, 2016 to Jul 17, 2016
Murcia, ES -- Jul 20, 2016 to Jul 24, 2016
Nantes, FR -- Nov 16, 2016 to Nov 20, 2016
Toulouse, FR -- Nov 23, 2016 to Nov 27, 2016
Strasbourg, FR -- Nov 30, 2016 to Dec 4, 2016
Paris, FR -- Dec 6, 2016 to Dec 11, 2016
Turin, IT -- TBA
Bologna, IT -- TBA
Florence, IT -- TBA
Milan, IT -- TBA
TORUK - The First Flight:
Houston, TX -- Feb 11, 2016 to Feb 14, 2016
North Little Rock, AR -- Feb 17, 2016 to Feb 21, 2016
North Charleston, SC -- Feb 26, 2016 to Feb 28, 2016
Sunrise, FL -- Mar 3, 2016 to Mar 6, 2016
Miami, FL -- Mar 10, 2016 to Mar 13, 2016
Tampa, FL -- Mar 17, 2016 to Mar 20, 2016
Tulsa, OK -- Mar 24, 2016 to Mar 27, 2016
Kansas City, MO -- Mar 30, 2016 to Apr 3, 2016
Oklahoma City, OK -- Apr 6, 2016 to Apr 10, 2016
Louisville, KY -- Apr 28, 2016 to May 1, 2016
Cincinnati, OH -- May 4, 2016 to May 8, 2016
Columbus, OH -- May 11, 2016 to May 15, 2016
Hamilton, ON -- May 20, 2016 to May 22, 2016
London, ON -- May 27, 2016 to May 29, 2016
Providence, RI -- Jun 3, 2016 to Jun 5, 2016
Duluth, GA -- Jun 15, 2016 to Jun 19, 2016
Raleigh, NC -- Jun 22, 2016 to Jun 26, 2016
Ottawa, ON -- Jun 30, 2016 to Jul 3, 2016
Denver, CO -- Jul 21, 2016 to Jul 24, 2016
Lincoln, NE -- Jul 27, 2016 to Jul 31, 2016
Chicago, IL -- Aug 3, 2016 to Aug 7, 2016
Brooklyn, NY -- Sep 7, 2016 to Sep 11, 2016
Newark, NJ -- Sep 14, 2016 to Sep 18, 2016
OVO:
Lake Charles, LA -- Apr 8, 2016 to Apr 10, 2016
Baton Rouge, LA -- Apr 14, 2016 to Apr 17, 2016
Greensboro, NC -- Apr 20, 2016 to Apr 24, 2016
Cleveland, OH -- Apr 27, 2016 to May 1, 2016
Syracuse, NY -- May 4, 2016 to May 6, 2016
Philadelphia, PA -- May 11, 2016 to May 15, 2016
Portland, ME -- TBA
Bangor, ME -- Jun 2, 2016 to Jun 5, 2016
Bridgeport, CT -- Jun 8, 2016 to Jun 12, 2016
Hartford, CT -- Jun 15, 2016 to Jun 19, 2016
Atlantic City, NJ -- Jun 22, 2016 to Jun 26, 2016
Charlotte, NC -- Jul 6, 2016 to Jul 10, 2016
---------------------------------
RESIDENT - en Le Théâtre
---------------------------------
Mystère:
Location: Treasure Island, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark: Thursday/Friday
Two shows Nightly - 7:00pm & 9:30pm
2016 Dark Dates:
o February 7, 2016
o March 16, 2016
o May 7 11, 2016
o July 6, 2016
o September 10 14, 2016
o November 9, 2016
Special / Limited Performances:
o March 12, 2016 (7pm Proceeds Donated to One Drop)
o June 18, 2016 (Only 7pm performance)
o June 19, 2016 (Only 7pm performance)
o December 29, 2016 (Two Shows)
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 10:00pm
2016 Dark Dates:
o February 7, 2016
o March 18
o April 11-19
o June 12
La Nouba:
Location: Walt Disney World, Orlando (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two shows Nightly - 6:00pm and 9:00pm
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
(Only 7:00pm on the following days in 2015: January 20,
May 8, May 15, May 19, May 20, and December 31)
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark Thursday/Friday
Two Shows Nightly - 7:00pm and 9:30pm
(Only 7 pm performances on May 9, 16 and June 21)
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Thursday through Monday, Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
(Only 7:00p.m. performances on May 15-16, June 19-21, December 31)
(Only 4:30p.m. & 7:00p.m. performances on July 4)
CRISS ANGEL BELIEVE:
Location: Luxor, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two Shows Nightly - 7:00pm and 9:30pm
ZARKANA:
Location: Aria, Las Vegas (USA)
Performs: Friday through Tuesday, Dark: Wednesday/Thursday
Two Shows Nightly - 7:00pm and 9:30pm
** UNTIL APRIL 30, 2016 **
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Two Shows Nightly - Dark: Wednesday/Thursday
Schedule: 7:00pm & 9:30pm on Friday, Saturday, Monday & Tuesday
4:30pm & 7:00pm on Sunday
JOYÀ:
Location: Riviera Maya, Mexico
Performs: Tuesday through Saturday, Dark: Sunday/Monday
One/Two Shows Nightly:
9:00pm (Weekdays)
7:00pm & 10:15pm (Fri, Sat & Holidays)
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) WEBSERIES -- Official Online Featurettes
o) FOTOS -- Images From Cirque & Other Photographs
o) VIDEOS -- Official Peeks & Noted Fan Finds
---------------------------------------------------
WEBSERIES: Official Online Featurettes
---------------------------------------------------
*) NEW: C-LAB WORKSHOP
In the Workshops series Presented by C:LAB, Cirque du Soleil
explores a new acrobatic repertoire by reaching out to athletes
from other disciplines.
o) EPISODE 1: RUSSIAN SWING 1
January 11, 2016
High-level half-pipe skiers try their flips and jumps on
the Russian swing. At first they use safety lines, but as
they quickly adapt to the apparatus, they get into some
their more intricate moves as the Russian swing takes on a
whole new dimension.
LINK /// < https://youtu.be/rhdOQsMZPTU >
o) EPISODE 2: RUSSIAN SWING 2
January 11, 2016
In this video, halfpipe skiers take their tricks on a lake
where they leap off a Russian swing and land in the water.
Watch as they work hard to overcome hurdles and master the
technique, taking the Russian swing to a whole new level.
LINK /// < https://youtu.be/8ARAYEFoAUQ >
o) EPISODE 3: HISTORY OF RUSSIAN SWING
January 18, 2016
Listen to Bernard Petiot, VP of Casting & Performance, and
Senior Head Coach Gergely Boi talk about the Russian swing
as a springboard for renewal its history, uses and
untapped potential.
LINK /// < https://youtu.be/wdQNoJuE1hU >
o) EPISODE 4: BIO MITCH HEAD, ACROBATIC COACH
January 22, 2016 (December 14, 2015)
LINK /// < https://youtu.be/NSp2vKPmHgM >
o) EPISODE 5: BIO BERNARD PETIOT, VP OF CASTING & PERFORMANCE
January 22, 2016 (December 10, 2015)
LINK /// < https://youtu.be/7P4HA35naYU >
o) EPISODE 6: RICHARD LEPAGE, COACHING & PERFORMANCE DIRECTOR
January 22, 2016 (December 10, 2015)
LINK /// < https://youtu.be/UtrJYuCJ0dE >
o) EPISODE 7: GERGELY BOI, SENIOR HEAD COACH
January 22, 2016 (December 10, 2015)
LINK /// < https://youtu.be/SPrkHkhTL0s >
o) EPISODE 8: SERGEY VOLODIN, COACH
January 22, 2016 (January 6, 2016)
LINK /// < https://youtu.be/86Z6UFj6-BM >
*) KURIOS ABOUT...
o) EPISODE 7: FRIENDS AND FAMILY
January 19, 2016
How does one tumble, toss, and juggle the balance of Family,
Friends and Relationships while on tour? Find out, in our
latest episode, how our 109 person strong, travelling village
makes life as real as reality will allow!
LINK /// < https://youtu.be/-WTK1OFU36Q >
*) KA: BEHIND THE BLOCKBUSTER
o) EPISODE 4: BATONS & FLUTES (PROPS)
January 8, 2016
In this episode, JanNelle, KÀs Head of Props & Puppets,
explains the multiple ways in which flutes are incorporated
into the performance, used as swords by the Imperial Twins
and as batons by the Chief Archers daughter.
LINK /// < https://youtu.be/e-5MK1UVHOA >
o) EPISODE 5: HEADSCAN PROCESS
January 15, 2016
The KÀ team has replaced the old-fashioned plaster head
molding process with the technique of 3D headscans, which not
only makes the process more efficient, but also allows the
team to recreate a prop at any time. Karine explains the
headscan process in detail.
LINK /// < https://youtu.be/2L48Gfs6GoE >
o) EPISODE 6: WEAPONS
January 22, 2016
Martial arts plays a large part in not only the opening
scene, but the entire story of KÀ by Cirque du Soleil. In
this video, JanNelle demonstrates some of the weapons used in
these highly energetic performances such the opera stick in
the Pageant act, and the variety of arrows and spears used
throughout the show. JanNelle reveals details from the
production process behind each of these unique weapons.
LINK /// < https://youtu.be/_BEQ81rdQEw >
*) OVO: BEYOND THE GOLD MEDAL
Get a sneak peak into the lives of former Olympians who
performed with OVO in this 4 part series!
#1: https://www.facebook.com/OVO/videos/10153961914024614/
#2: https://www.facebook.com/OVO/videos/10153967797429614/
#3: https://www.facebook.com/OVO/videos/10153976813959614/
#4: https://www.facebook.com/OVO/videos/10153981810974614/
---------------------------------------------------
FOTOS: Images From Cirque & Other Photo Links
---------------------------------------------------
AMALUNA -- https://goo.gl/6G0e2c -- Royal Albert Hall Setup
AMALUNA -- https://goo.gl/Ec9CIC -- Artists Rehearsing in London
AMALUNA -- https://goo.gl/Ody1g6 -- Artists Rehearsing in London
AMALUNA -- http://goo.gl/d8gJmY -- Amaluna in Pictures
AMALUNA -- https://goo.gl/Wz34h9 -- Backstage in Pictures
KA -- https://goo.gl/XdwjPS -- The Stage
KOOZA -- https://goo.gl/1d0hXl -- Bash Training
KOOZA -- https://goo.gl/Xqtdrb -- Bash Training
KOOZA -- https://goo.gl/L4k85D -- Bash Training
KOOZA -- https://goo.gl/npGBHW -- Press Conference in Santiago
KOOZA -- https://goo.gl/kEKgQn -- Uses more than 160 Hats
KURIOS -- https://goo.gl/iPxjDB -- At KCAL 9 CBS Newsroom
KURIOS -- https://goo.gl/yWDyfO -- Pictures of our LA adventure!
KURIOS -- https://goo.gl/LZAm4k -- Nacion ESPN Visit
KURIOS -- https://goo.gl/zA6xGz -- Nacion ESPN Visit
LA NOUBA -- https://goo.gl/FtbTOc -- Shoes
LA NOUBA -- https://goo.gl/0IZO7a -- The Green Bird Costume
LUZIA -- http://goo.gl/lF1nzV -- Costume Teaser
LUZIA -- http://goo.gl/KCc8gs -- Gets a New Logo
MJ ONE -- https://goo.gl/APbZhE -- Finale Ensemble
O -- https://goo.gl/hz1OQt -- The Carousel and Téléphérique
PARAMOUR -- https://goo.gl/w2ogZm -- Rehearsals
PARAMOUR -- https://goo.gl/yNLycr -- Rehearsals
PARAMOUR -- https://goo.gl/BVWKiW -- Rehearsals
PARAMOUR -- https://goo.gl/dSL1DF -- Introducing the Atherton Twins!
PARAMOUR -- http://goo.gl/tSxqvP -- Up On the Marquee!
PARAMOUR -- https://goo.gl/uE3DnL -- Meet Bradley Dean
PARAMOUR -- https://goo.gl/nANw92 -- Our Acrobats move Cinematicaly
PARAMOUR -- https://goo.gl/3VtQ3W -- Meet our Piano Man, Ryan Vona
PARAMOUR -- https://goo.gl/BSTgX5 -- Meet our Piano Man, Ryan Vona
PARAMOUR -- https://goo.gl/9OC2Vn -- Cast Member Reed Kelly Rehearses
TORUK -- https://goo.gl/omrd58 -- A Different View of a Load In
TORUK -- https://goo.gl/YmW9q5 -- An Impressive Birds-Eye View
TORUK -- https://goo.gl/VVlSK5 -- Important Set Piece?
TORUK -- https://goo.gl/r98mt2 -- The Tree of Souls
TORUK -- https://goo.gl/xmkIOb -- Tsyal & Direhorse
TOTEM -- https://goo.gl/m6QCde -- Odaïba Big Top is all setup!
TOTEM -- https://goo.gl/vC92Q3 -- Scorpion Bridge is all Set up
TOTEM -- https://goo.gl/xfPQWW -- Odaiba Big Top in the Snow!
TOTEM -- https://goo.gl/ilHQdT -- Programming Automation System
TOTEM -- https://goo.gl/00Pxur -- Artists Have Arrived!
TOTEM -- https://goo.gl/lbJfTm -- Backstage at JPN Promo Event
TOTEM -- https://goo.gl/ecnm0p -- Backstage at JPN Promo Event
TOTEM -- https://goo.gl/BNiQ7L -- Backstage at JPN Promo Event
TOTEM -- https://goo.gl/MYS5Bi -- Carapace training
VAREKAI -- https://goo.gl/9L4Lei -- In La Pedrera-Casa Milà
VAREKAI -- https://goo.gl/5nZHf5 -- Teamwork at it's Best
VAREKAI -- https://goo.gl/2qY3bR -- This is what the artists see
VAREKAI -- https://goo.gl/jm4JH7 -- Thank You Valencia
VAREKAI -- https://goo.gl/XKlT8z -- Starting Our Warm up in Malago
VAREKAI -- https://goo.gl/9cTuzQ -- Ready for Show #2 of 3 in Malago
ZUMANITY -- https://goo.gl/uBlaLs -- Undress to Impress
---------------------------------------------------
VIDEOS: Official Peeks & Noted Fan Finds
---------------------------------------------------
ACTIVEON "POV" SERIES
---------------------
TEASER -- https://goo.gl/79fIfD -- Teaser Video
MYSTERE -- https://youtu.be/bDAfwvo9vp4 -- Bungee POV
KA -- https://youtu.be/mrAPOpBVi1E -- Battle POV
ZARKANA -- https://youtu.be/fEZ7q7svSLg -- Wheel of Death POV
O -- https://youtu.be/i6hJyYItiIk -- High Dive POV
ZUMANITY -- https://youtu.be/Y3mEqdKx5zY -- Waterbowl POV
LA NOUBA -- https://goo.gl/kAjBuE -- BMX POV
LUZIA -- https://goo.gl/tZltPT -- Treadmills
MOULDS -- https://goo.gl/DmRafm -- Head Moulds
TOTEM: VALENTINO IN SINGAPORE
-----------------------------
Catch Valentino from TOTEM - Cirque du Soleil as he ventures out of
the Big Top in a trishaw to see the sights in Marina Bay. Before too
long, the sight of a female jogger catches his attention. Will he
win her heart?
o) Part 1: https://www.youtube.com/watch?v=At2GPou4N0k
o) Part 2: https://www.youtube.com/watch?v=FAKgB5cRZPU
o) Part 3: https://www.youtube.com/watch?v=TfEec2C-iXg
ERIC HERNANDEZ - CIRQUE LIFE
----------------------------
Eric Hernandez is currently Touring the world with TOTEM. He has
been on tour since March 2012 performing the traditional Hoop Dance
that he was taught from his uncle Terry Goedel when he was 10 years
old. Eric documents his adventures - his Cirque Life - in between the
rigorous 10 shows a week schedule he performs, posting his insights
on his YouTube Channel. Follow Eric as he experiences life on the
road in Japan for the very first time!
o) "Love What You Do" -- https://goo.gl/1N4M18
o) "My New Home" -- https://goo.gl/mBQSQ5
o) "The Fuji Dome" -- https://goo.gl/SZEevn
o) "Working Harder" -- https://goo.gl/xeJsSL
o) "Learning Japanese" -- https://goo.gl/HcrHSN
FACEBOOK VIDEOS
---------------
AMALUNA -- https://goo.gl/oQUxRf -- Thank you Paris, Goodbye!
AMALUNA -- https://goo.gl/XWLJU5 -- Almost to London!
AMALUNA -- https://goo.gl/c0wa2V -- Saluting the Royal Albert Hall
AMALUNA -- https://goo.gl/cLNzwl -- Chat w/Bob & Bill
AMALUNA -- https://goo.gl/HUlwMC -- Backstage at London Premiere
AMALUNA -- https://goo.gl/hLh1YR -- Backstage at London Premiere
JOYA -- https://goo.gl/Tnye5M -- A New Trailer
KOOZA -- https://goo.gl/XTTXNJ -- Celebrating the Musicians
KOOZA -- https://goo.gl/g1ipJk -- High Fives After a Show
KURIOS -- http://goo.gl/9b80rJ -- Yo-Yo Master on Good Day LA
QUIDAM -- https://goo.gl/0bhSkv -- Practice Makes Perfect!
QUIDAM -- https://goo.gl/UVazhP -- Luana "Quidamifys" herself #1
QUIDAM -- https://goo.gl/f7nGn0 -- Luana "Quidamifys" herself #2
TORUK -- https://goo.gl/tQStHL -- Rituals of the Cast
TORUK -- http://goo.gl/q4GOfk -- Chat w/Michael Ocamp
TOTEM -- https://goo.gl/pSJleK -- Sneak Peek of Escalade Act
VAREKAI -- https://goo.gl/ZpkLOQ -- Cast Wishes a Happy New Year!
VAREKAI -- https://goo.gl/WkurpL -- Last Performances in Barcelona
TRAINING -- https://goo.gl/0ZuuN6 -- How to do the perfect pushup
FAN FINDS
---------
- https://goo.gl/kS1zbc -- Cyr Wheel in Amaluna
- https://goo.gl/IlZfgK -- Ruby Lewis Likes Bread!
- https://goo.gl/o1EIoD -- La Nouba Clowns Entertain the Media
- https://goo.gl/ulLBGW -- Really Cool Cyr Wheel!
- https://goo.gl/k8soXI -- Old Video of Brian Dewurst Performing
- http://goo.gl/7QTB55 -- Mystere Performs on Today Show
- https://goo.gl/qNAxQh -- Zumanity Cast at RuPaul's DragCon 2015
- https://goo.gl/A7eOkj -- Andrii Lytvak as John/Mark (Act 1)
- https://goo.gl/3ebySq -- Andrii Lytvak as John/Mark (Act 2)
- https://goo.gl/tCgIda -- Kurios' Handbalancing on Canes on TV
- https://goo.gl/nlhLYr -- 12 Kurios Tracks in 1 (Keyboard)
- http://goo.gl/CKxC1G -- Kurios: Breaking Records (Fox News)
- https://goo.gl/Aq263S -- Disney Blog Highlights New La Nouba Acts
- https://goo.gl/zIOXVU -- Secrets of Mystere, Part 1 (2009)
- https://goo.gl/0E0sDq -- Secrets of Mystere, Part 2 (2009)
- https://goo.gl/qYcbXN -- La Nouba's B-Boys Shoot a Commercial
- https://goo.gl/I82Pl7 -- Kurios Contortion on Late Late Show
- https://goo.gl/ezuUPM -- Atherton's Varekai Farewell (2010)
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) SPECIAL /// "ALL ABOUT TORUK-THE FIRST FLIGHT"
By: Cirque du Soleil (Press Kit)
o) LOOK BACK: Guy Laliberte's Poetic Social Mission
PART 6 of 8: "Departure for Baikonur"
By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
SPECIAL /// "ALL ABOUT TORUK-THE FIRST FLIGHT"
By: Cirque du Soleil (Press Kit)
------------------------------------------------------------
TORUK The First Flight is a live immersive multimedia spectacle that
brings to the stage the breathtaking world of James Camerons AVATAR
like you have never seen it before.
Through a riveting fusion of cutting-edge visuals, puppetry and
stagecraft buoyed by a soaring cinematic score, Cirque du Soleil
applies its unique signature style to James Camerons imaginary world
and makes the bond between two kindred artistic visions that capture
the imagination.
This live immersive experience also bears the distinct signature of
directors and multimedia innovators Michel Lemieux and Victor Pilon.
It is a living ode to the Navis symbiotic coexistence with nature
and their belief in the basic interconnectedness of all living things.
Narrated by a Navi Storyteller and populated by unforgettable
characters, TORUK The First Flight is a mythical tale set thousands
of years before the events depicted in the film AVATAR, and before any
humans ever set foot on Pandora.
When a natural catastrophe threatens to destroy the sacred Tree of
Souls, Ralu and Entu, two Omaticaya boys on the brink of adulthood,
fearlessly decide to take matters into their own hands. Upon learning
that Toruk can help them save the Tree of Souls, they set out,
together with their newfound friend Tsyal, on a quest high up in the
Floating Mountains to find the mighty red and orange predator that
rules the Pandoran sky. Prophecy is fulfilled when a pure soul rises
among the clans to ride Toruk for the first time and save the Navi
from a terrible fate.
And now we can explore this show in more detail thanks to the show's
Press Kit! Heres what youll find within:
o) About Toruk - The Main Characters
o) ABOUT TORUK: Projections & Multimedia Content
o) ABOUT TORUK: Set Design & Props
o) ABOUT TORUK: Costumes & Makeup
o) ABOUT TORUK: Puppets
o) ABOUT TORUK: Acrobatic Performance & Choreography
o) ABOUT TORUK: Movement-Kites
o) ABOUT TORUK: The Navi Sound (Music)
o) ABOUT TORUK: The Navi Spoken In The Show
MAIN CHARACTERS
---------------
Ralu, Entu and Tsyal are the three main protagonists of TORUK The
First Flight, which is narrated by a Navi Storyteller. They are
joined by the Shaman and the Chief of the Omaticaya clan as well as
members of five Navi clans: Omaticaya, Tawkami, Anurai, Tipani, and
Kekunan. The black-clad, shadow-like puppeteers personify the spirit
of Eywa, the Navis guiding force and deity.
RALU -- Member of the Omaticaya Clan, is the son of a formidable
hunter who taught him exceptional focus and discipline. Ralu is a
sensitive and compassionate boy on the brink of adulthood. Although he
is only 14 years old (in Earth years), there is a calm and quiet force
about him that underscores his carefree attitude. Always on the
lookout for his childhood friend and protégé Entu, Ralu is a natural
born leader. Whenever the going gets tough, he channels all his energy
and skills into the challenge at hand and invariably gets the job
done. Just ask Entu, whom Ralu once saved from certain death by luring
away a Thanator during archery practice deep in the rainforest. No
wonder everybody rallies behind Ralu his is a doer and a thinker
with a heart of gold!
ENTU -- Member of the Omaticaya Clan, lost both of his parents early
in life in a freak attack by a Thanator. He is the same age (14 years
old in Earth years) as his lifelong friend Ralu his mentor with
whom he has always engaged in a healthy competition that has
definitely kept him on his toes. Spunky and intense, Entu is fully in
touch with his emotions and knows to follow and trust his instincts.
One day, when a member of his clan ventured too far out on a cliff
edge and was left dangling on a limb, Entu instantly concocted an
ingenious counterweight device using his pack, a sturdy branch and
some vines to lower himself down the mountain face and save the boy,
showing total disregard for his own safety. With his quick wit and
dauntless spirit, Entu is eager and ready to dive headlong into
the adventures that lie ahead.
TSYAL -- Member of the Tawkami Clan, is the only child of a village
chief who lost her mother at a tender age. She was raised by her
grandmother with the help of other members of her clan, as is the
custom among the Navi. Highly proficient in herbal lore, her
grandmother was a chemist widely revered among the Tawkami for her
unique remedies and concoctions. Tsyals clan is renowned throughout
the land for their knowledge of chemistry and alchemy, and the
abilities she inherited from her grandmother are transmitted every two
generations through a special bond among clan members. Spurred by her
grandmothers legacy and wanting to live up to the expectations
bestowed upon her, Tsyal has taken great pride in creating innovative
mixtures and recipes of her own. True to her clan nestled deep inside
the primeval forests of Pandora, this easygoing, sprightly girl with
an indomitable spirit has a cheerful nature and loves to play tricks.
With a mere seed, she can put the fiercest beast to sleep; with the
frailest-looking flower, she can induce the most beautiful dreams or
provoke the most terrifying nightmares. Such is the tremendous power
of the natural elements that Tsyal and her clan have learned to
understand and harness.
THE STORYTELLER -- There is an aura of mystery about the Storyteller
a wanderer who roams the land, going from village to village and from
clan to clan, in constant touch with his people. Wrapped in his
beautiful, weathered mantle, the wise yet unassuming Storyteller
exudes wisdom and compassion. As for his age, nobody knows for sure.
Time seems to stand still for those who experience life-changing
events of the highest magnitude. Regardless of the clan he was born
into, the Storytellers soul contains the joys and sorrows of all his
Navi brothers and sisters. He is a guide and a connector a
messenger of peace and unity. Long ago, the Storyteller earned a
special place in the hearts of his people, and that is where his true
home is.
PROJECTIONS & MULTIMEDIA CONTENT
--------------------------------
Lemieux and Pilon, who also wrote the show, sought to convey the awe-
inspiring beauty and vital impetus of the world of Pandora its rich
textures, lush flora, and youthful buoyancy. The multimedia
projections that evoke the awe-inspiring landscapes from the
Floating Mountains and the Omaticaya Hometree, to the Anurais animal
sanctuary and the lush jungles where the Tawkami live create a
visually stunning environment for the performers. So do the large-
scale effects that come from the storyline, such as the earthquake and
volcano eruption, the rivers of lava rising from within, and the
Shamans visions projected on a huge floating, ethereal veil.
Some video effects are synched with the performers movements, such as
the bioluminescent trails they leave intheir wake as they meander
through the forest. Some effects are mere evocations meant to create
mood, like the creatures circling the sky appearing only in shadow
form on the ground.
Video projections sometimes overflow beyond the set and right into the
audience, giving spectators the feeling theyre not merely gazing at
Pandora, but theyre actually ON Pandora. At one point, waves start in
the audience before washing up on shore on stage; in another scene, a
starry sky is projected all over the arena, virtually turning it into
an upside-down planetarium.
Lemieux and Pilon are masters at creating virtual spaces on stage. In
TORUK The First Flight, they transform the set into a giant screen
where Pandoran landscapes materialize. Set changes, which sometimes
occur in the wink of an eye, are not mechanical, but optical, says
Michel. Its the language of film applied to the performing arts,
adds Victor. And we alternate between large-scale, spectacular
effects and more intimate moments that evoke emotion.
In a projections-rich production, lighting is crucial to adding volume
to the performers, set elements and props. It focuses the audiences
attention on story. In TORUK The First Flight, a state-of-the-art
tracking system is used in unprecedented ways to help with this task.
Hidden in their costumes, the artists wear a tracking device linked to
follow spots and video projectors that react to their movements in
real time.
Projections Closeups:
o) Total projection surface, excluding projections that reach out into
the audience, is approximately 20,000 square feet, more than five
times the size of a standard IMAX screen: 12,750 for the stage,
3,600 for the two lateral screens, and another 3,600 for the two
columns of Hometree.
o) There are 40 video projectors in all: half are 30,000-lumen each,
the other half, 20,000-lumen.
o) 22 video projectors are used for projections on the ground; 6
projectors send video images on Hometree; 2 projectors are
dedicated to the two lateral screens; and 8 projectors are used for
immersive projections into the audience.
SET DESIGN AND PROPS
--------------------
Pandora is a fictional moon orbiting the gas giant Polyphemus in the
Alpha Centauri system, the closest star system to our sun. It is home
to the Navi, a highly spiritual people with a deep connection to
nature. The moons environments range from tropical rainforest and
equatorial desert to boreal forest, mountains, ocean shorelines,
wetlands, and archipelago. Nature galore! As there are no constructions
on Pandora, Set Designer Carl Fillion made it a point to avoid straight
lines and to use only curvy, organic lines in his designs.
Five main elements make up the set Hometree, the Island, the Green
Belt, the Dream Catcher, and the two Lateral Screens.
The Omaticaya Hometree On Pandora, Hometrees are two to three times
the height of the redwoods that once covered the Pacific Northwest on
Earth. The bottom part of the columns of the Omaticaya Hometree loom
25 feet above the stage floor. Amid the bustle of daily life inside
Hometree, one can see a Giant Loom a kind of weaving machine that
plays an important role in the daily lives of the Omaticaya.
The Island There is an island at the center of the stage on which
performers move about. The Island also houses a Fire Pit, a Circular
Drum as well as the Tree of Souls, an inflatable structure stashed in
a tiny trench under the stage floor. The tree structure is inflated as
it is hoisted from the trench using cables attached to the structure
above the stage. The branches of the tree are covered in thousands of
LED lights.
The Green Belt The terrain on Pandora is neither smooth nor flat. To
create a fragmented topography that evokes the uneven landforms on
Pandora, the Set Designer created an elevated, padded bank or Green
Belt all around the stage on which performers can climb and move
around. The Green Belt ensures that images projected on the ground
look more three-dimensional. It also doubles as a cover for the rink
board. As Pandora is a world lush with vegetation, three dimensional
retractable plants pop out of the Green Belt during scenes to evoke
the forest environment.
The Dream Catcher The Dream Catcher is a structure suspended 45 feet
above the Island. It houses several props and set elements, including
a huge plant 35 feet in diameter that serves as an acrobatic device.
The structure recalls the Aboriginal dream catcher.
The Lateral Screens The two large projection screens flanking the
Omaticaya Hometree on each side extend the projection surface further
out into the audience.
Set Closeups:
o) The stage is 85 by 162 feet.
o) The shows performance area is based on the Fibonacci spiral. This
shape is determined by the ancient number sequence in which each
number is the sum of the two preceding numbers. It is said that
botanists on Pandora have recognized this mathematical pattern in
many botanical specimens with a fiddlehead shape. If one were to
place the design of the Fibonacci spiral on the stage, the Tree of
Souls would be in the exact spot at the heart of the spiral.
o) Hometree is 80 feet wide by 40 feet high. The structure is equipped
with wheels and stands on nine pivots. It can be moved by hand.
o) The fabric that covers the entire performance area used as a
projection surface during the Prologue comes in two parts, each
measuring 200 by 90 feet wide.
COSTUMES AND MAKEUP
-------------------
When she took on the challenge of interpreting for the stage the
animated characters in AVATAR through costumes, Costume Designer Kym
Barrett set out to respect the dress codes established by James
Camerons team without copying exactly what was done in the movie.
While we worked within the parameters of Pandora, we had room to
create our own version of the mythical first flight, says Kym.
Since the movie is set 3,000 years in the future in relation to TORUK
The First Flight, the Costumer Designer needed to determine how the
Navis clothing culture had changed over that period of time and,
working backwards, create her designs accordingly. The Omaticayas
domestic culture revolved around weaving and bead-making and using the
things they found in their natural surroundings from seeds and vines
and leaves, to bones and precious stones.
One look at the Storytellers mantle is enough to know that he is well
traveled and has received various tokens from other clans over time.
Likewise, the Shamans costume suggests that travelers to and from the
Omaticayas home have brought her ornaments and treasures that she has
incorporated into her ceremonial robe.
The costumes should look like they were made by Navi hands, hence the
organic, handmade look to the wardrobe. Textures and prints were
designed to overcome the fact that there are no fabrics on Pandora.
The artisans in the costume department sought out materials that
potentially looked like they were naturally available to the Navi in
their environment.
They invented Pandoran fibers that do not exist on Earth. Some
varieties of extraterrestrial flora used in the costumes are in
reality cut-outs of loofah sponge or molds from cabbage leaves. A
loincloth that looks like it was made from leaves is in fact made of
crinoline, an open-weave horsehair and linen fabric usually stiffened
and used for interlinings, skirts or underskirts.
Given the size of the performance space, great care has gone into
ensuring the costumes look authentic. They are detailed and subtle
enough to look handmade up close, but they look organic while
remaining lustrous from afar.
Creating the Navi Skin Before designing the first elements of the
clan couture however, the team needed to address the epic challenge of
reproducing the look of the Navis skin convincingly in terms of
color and skin tone.
With its long, prehensile lemur-like tail, the body of the Navi is
leaner and taller than a humans. Acrobats do not generally fit this
mold. By and large, performers in the circus arts world are more of a
medium stature and more muscular than thin. The team had to start by
establishing the muscle structure and the base print colors then
create the Navi body stripes. They elongated the thorax as much as
possible in order to replicate the Navis body form by raising the
chest design a few inches on the costume in relation to the artists
own chest.
Kym chose four different blue base skin tones to account for natural
DNA variations among the Navi people. These skin colors had to work
on all performers, regardless of their complexion.
Twenty-five different variations were created for the Navi base. The
base skin fabric, an optical white synthetic fiber, was silkscreened
to create the muscle and distinctive stripes. The bioluminescent
effect is created using a product that reacts to the light filters used
in the show.
The Spirits of Eywa - The exotic fauna of Pandora is personified on
stage through state-of-the-art puppetry. The challenge for the costume
team was to determine how the puppeteers would manipulate the puppets
without being identified as Navi, while remaining connected to the
world of Pandora. To address this challenge, an all-black Navi costume
was created.
Make-up and morphology Although they are morphologically similar to
humans, the Navi have a wider nose and larger eyes. To suspend the
audiences disbelief and create the illusion that the 35 performers on
stage are in fact Navi, the make-up artists in the costume department
needed to remodel the artists faces. In addition, countless hours
were spent finding and creating unifying bioluminescent patterns that
pass seamlessly between the printed fabric of the costume and the
make-up, which is a unique foundation color that was created
specifically for the show.
Costume Closeups:
o) As the base costume represents the bare skin of the Navi, the
footwear has to imitate bare feet. The artists wear shoes contoured
to the shape of the human foot, including visible individual
sections for the toes.
o) The flowers of the Tawkami costumes require 437 yards of fabric and
120 fishing rods.
o) Some costumes are made with parts of hammocks.
o) Bones were used as an inspiration to sculpt the Anurai decorations
and to adorn the corset of the Storyteller.
o) A drill or a hand mixer is used to prepare the wool materials that
make up the braids in the hair of the Omaticaya characters.
o) As turquoise silkscreen inks are extremely sensitive to sunlight,
all costumes with this feature need to be covered with a black
garment bag during storage.
o) The black-clad, shadow-like puppeteers who personify the spirit of
Eywa are a direct reference to the shadows in Platos Allegory of
the Cave. Shadow play is a precursor of cinema.
o) There are 115 costumes in the show, an average of 3.3 costumes per
artist. The costume department produced more than 1,000 items in
all, including shoes, headpieces and necklaces.
PUPPETS: THE CREATURES OF PANDORA
---------------------------------
When he dreamed up AVATAR, James Cameron created a coherent, highly
structured world with its own set of codes and natural laws, including
a living, breathing ecosystem with an exotic fauna. When the creators
of TORUK The First Flight decided to evoke the creatures of Pandora
on stage through the art of puppetry, they could easily have turned to
animatronics animal figures animated by means of electromechanical
devices. Instead, they chose to create bona fide puppets where the
strings, rod or controls are intentionally left visible and the
puppeteers are in full view.
Regardless of the technique, the goal remains to urge the spectator to
suspend disbelief for a moment to create the illusion that these are
not mere objects made of metal and cloth, but living beings from a
faraway moon.
On Pandora, the animals are strange, menacing and beautiful all at
once. These six-legged muscular creatures exude a sense of grace and
nobleness, which I wanted to convey. I wanted my designs to be a
tribute to nature, as is the show, says Puppet Designer Patrick
Martel.
In TORUK The First Flight, 16 puppets represent the creatures of
Pandora: six Viperwolves, three Direhorses, three Austrapedes, one
Turtapede, two swarms of Woodsprites, and one Toruk. The two swarms of
Woodsprites are actually mobiles manipulated by puppeteers.
While the Viperwolves and Direhorses are directly inspired by the
movie AVATAR, the Austrapedes and the Turtapede were created from
scratch. When the creative team took on the challenge of imagining a
show based on a pre-existing world Pandora , they dove head first
into James Camerons world and used it as a springboard to explore
uncharted territory. This meant creating new creatures as well. Not
only did we want to please AVATAR fans, we wanted to surprise them
too, says Patrick.
But the responsibility of adding new species to Pandoras fauna was
not taken lightly. The features of these new six-limbed creatures had
to be consistent with the morphological standards of Pandora. And they
are. It was a matter of respecting James Camerons work.
Puppet Biology Since weight is an important factor when building
large-scale puppets, most structures are made of aluminum or, whenever
possible, carbon fiber, a material as flexible as it is lightweight.
The inside of the puppets is Plastazote, which is ultra-light
polyethylene foam. Stretch fabrics such as Lycra are used for the
creatures skin, while the wings of Toruk are cut from polyester silk.
The textures and patterns on the outside were printed using a
technique called sublimation, which fixes the images in the fibers of
the material.
Beware the Viperwolf! With its low-slung head and snakelike jaw, the
Viperwolf is a swift, fiercely intelligent animal that hunts in packs.
The puppeteer uses his hands to control the upper body and articulated
head of the Viperwolf, working each of the four front legs with his
hand. The puppeteer moves the animals hind legs by giving the puppet
a specific swinging motion. The Viperwolf puppet has green luminous
eyes, is illuminated from the inside, and glows red and blue.
The swift and nimble Direhorse The Direhorse is a wild, frisky
animal. Two puppeteers work in unison inside the structure. The first
controls the front part, including neck and head; his legs become the
creatures two front legs. The second puppeteer controls the middle
legs with his hands; his legs become the animals hind legs. The
puppeteers stand on platform shoes to better convey the creatures
impressive size.
The Austrapede, a cross between an ostrich, a pink flamingo and a
dinosaur With its long, thin neck and tail and its long, narrow
bill, the Austrapede is a relatively small creature by Pandoran
standards. The Austrapedes are impulsive, fidgety creatures whose
emotions spread quickly from one individual to the other by a form of
mimicry. A single puppeteer housed inside controls the neck and head
with one hand, using his other hand to work the wings, which start
flapping whenever the Austrapede is frightened. Perched on 7-inch-high
platform shoes that give the animal its distinct hop, the puppeteer
can see through the animals gills, which are a common feature of
Pandoran fauna.
The Turtapede, a turtle and a shark folded into one With its large
dorsal fin and tail, the Turtapede is agile in shallow water. The
puppeteer moves the sea-dwelling creature by pushing on the structure.
He uses his arms to move the creatures legs. The shell of the
Turtapede has iridescent patterns that shimmer.
The Woodsprites, sacred seeds of the Tree of Souls Two mobiles
inspired by the work of sculptor Alexander Calder evoke the
Woodsprites in all their aerial lightness and elegance. To reproduce
their bioluminescent glow, each of the 20 seeds is equipped with a DEL
light.
The Toruk, or Great Leonopteryx The fierce and noble Toruk is an
oversized marionette with a 40-foot wingspan. This type of traditional
string puppet is usually much smaller and works upside down: the
strings are normally manipulated from above instead of from below. The
shows Toruk works by reverse gravity and is suspended from a cable
attached to an automation system that controls the creatures
movements in space. Six puppeteers on the ground control the other
movements of the creature. It takes one puppeteer to control the head,
two to direct the shoulders, two to work the wings, and one to control
the tail all in a synchronized aerial choreography.
Fourteen additional puppets appear in TORUK The First Flight to
evoke various animals on Pandora. These more rudimentary and
impressionistic puppets, handcrafted by the Navi, are used in various
rituals and ceremonies.
Without the puppeteers, the fauna in the show would be inert and
lifeless. They are the ones who breathe life into the creatures, hence
the moniker Spirits of Eywa.
Puppet Closeups:
o) The two Woodsprite mobiles deployed at the end of 19-foot poles
each contain 20 illuminated seeds.
o) The puppeteers are equipped with microphones and make their own
animal sounds for perfect synchronization with their movements.
ACROBATIC PERFORMANCE & CHOREOGRAPHY
------------------------------------
One of the biggest challenges during the creation of TORUK The First
Flight was to figure out how to portray the Navi in their natural
environment in a credible way. Hence the idea of developing a
different acrobatic language for this show.
Acrobatic Narrative -- The creative team wanted to convey the strength,
physicality and agility of the Navi in a setting that takes into
account Pandoras weaker gravity compared to Earths. Acrobatics are
embedded in the storyline and the artists every move from leaps and
tumbles, to flips and somersaults. The stage floor was specially
equipped with rebound surfaces to allow the artists to generate thrust
and build momentum. During the creative process, artists had to
unlearn movements and gestures they had spent years assimilating in
their training. They had to shun the laws of human biomechanics and
learn how to move like the Navi. This new gestural language produced
what Acrobatic Performance Designer Germain Guillemot calls a music
of the body. Over time, the artists-cum-Navi began to look and
behave like they had just walked out of the big screen.
Group Dynamics -- Each of the five clan in the show has features and
skills that sets it apart from the others. To reflect this, the
creative team assigned a distinct performance or movement signature
to each clan.
o) Omaticaya Giant Loom & Vines: The giant loom that holds a
special place in the everyday lives of the Omaticaya doubles as
an apparatus. Artists climb up the structure and leap from one
bar to the other, performing moves that borrow from various
aerial acrobatic disciplines.
o) Anurai Thanator Sculpture: An apparatus that recalls the
skeleton of a Thanator Palulukan in the Navi language was
created for the noble Anurai. The artists climb on the
structure and perform a balancing ritual in its honor.
o) Kekunan Kites: The art of indoor kite flying is used to evoke
a colony of Mountain Banshees during the scenes featuring the
Kekunan, a clan that lives near the creatures breeding ground
high up in the mountains. In certain scenes with Ralu, Entu and
Tsyal, the kites become characters in their own right.
o) Tipani Poles and Staffs: Valiant warriors, the Tipani are
deft at manipulating poles and staffs during symbolic or ritual
battles.
o) Tawkami Pandoran Flora: As for the Tawkami, proficient
botanists known for their vast knowledge of plants and their
healing properties, the oversize flora of Pandora serves as a
showcase for the clans special abilities. Searching for potent
seeds, Tsyal climbs up the pistils of an enormous flower
suspended from above and performs moves that have all the
earmarks of an aerial silk act. During the Tawkami scene,
members of the clan celebrate the harvest by performing a
balletic floral choreography: they manipulate banners made of
ultralight fabric that evoke colorful leaves, plants and flowers,
creating huge volumes that flow and undulate gracefully in space.
Choreographing Life on Pandora -- During the creative process, co-
choreographers Tuan Le and Tan Loc spent a lot of time with the cast
exploring the shows physical and acrobatic vocabulary in order to
help drive the emotional momentum of the narrative. Using the film
AVATAR as a creative springboard, they drew inspiration from the
energy of the Navi to spark the creativity of the cast. Their goal
was always to create individual or ensemble movements that look and
feel authentic in order to persuade the audience to suspend
disbelief. Actress and former competitive gymnast Julene Renee was
brought in to teach the artists how to move like the Navi. Known for
her role in James Camerons AVATAR, she also worked with the actors of
the film as a movement coach. Not only did Renee teach the artists the
basic catlike movements of the Navi, she also explored with them the
philosophy, language and sounds that are part of daily life on
Pandora.
MOVEMENT: KITES
---------------
In the show, vigorous multicolored kites glide gracefully up above
then swoop down, banking hard right and left in the blink of an eye,
rising up again in power climbs before falling into spins and pulling
out mere inches from the ground. On stage, these ingenious
contraptions are the physical manifestations of the Banshees that roam
the Pandoran sky. In essence, the kites in the show are the avatars of
these winged predators. They are not mere tethered constructions; they
are creatures of Pandora involved in the story. As such, they need to
connect with the audience on an emotional level, particularly during
the scenes with the trio.
Kite Closeups:
o) There are 18 kites in the show: 6 quads (kites equipped with four-
line), 11 kites on poles, and 1 giant traction kite.
o) During the scene in the Hallelujah Mountains, the 64.5-square-foot
giant traction kite flies out over the audience. Spectators sitting
up close can feel the gust of wind the kite makes as it whooshes by
overhead.
o) Traction kiting is an extreme form of kite flying. A traction kite
is typically large enough to pull a vehicle on land, snow, ice or
water. Since there is no wind indoors, it is the flyer who must
generate the energy required to fly the kite. Interestingly, a
traction kite that is flown indoors has the ability to glide
forward just like a paper plane.
o) During the Kekunan Clan scene, a group of 12 kite flyers perform
simultaneously on stage.
THE NA'VI SOUND (MUSIC)
-----------------------
Composers and Musical Directors Bob & Bill had to meet the challenge
of creating otherworldly music that captures the vibe of Pandora, in
addition to composing cinematic-sounding transitions between scenes
that blend perfectly with the Navi sound.
The composers lugged their equipment out in the woods to record the
beats for the shows soundtrack in order to achieve as natural and
organic a sound as possible. Instead of using drumsticks to compose
the different rhythmic patterns, the composers used objects or
phenomena in nature footsteps on dry leaves, a stick hitting the
trunk of a tree, a branch slapping the ground, etc. Many of the beats
recorded in the woods were used as is, and not as mere samples
doctored in the studio.
In addition to coming up with an overall show sound, Bob & Bill
created a specific signature for each of the five clans, each with its
own theme, timbre, instruments and voices. Even the fierce predator
Toruk has its own unmistakable two-note theme.
The composers turned to Paul Frommer the linguistics expert who
invented the Navi language for James Camerons AVATAR to translate
into Navi the lyrics to all of the songs written for the show. Bob &
Bill also drew inspiration from the musical instruments and theory
explained in-depth in the Pandorapedia, James Camerons official field
guide to the world of AVATAR.
TORUK-THE FIRST FLIGHT
CDSMCD-10052
01: "Omaticaya Clan".............. (4:29)
02: "Lu Aw Navi".................. (4:38)
03: "Shaman Story"................ (4:40)
04: "Tawkami Clan"................ (4:03)
05: "The Anurai Clan Sanctuary"... (4:23)
06: "Viperwolves/Timpani Clan".... (4:18)
07: "Direhorses".................. (4:22)
08: "Kekunan Clan"................ (4:00)
09: "Hallelujah Mountains"........ (4:00)
10: "The Toruk"................... (4:47)
11: "Luminous Reunion"............ (4:09)
Run Time: 47 minutes
Music Closups:
o) For the forest-dwelling Omaticaya, wood instruments, flutes and the
everyday sounds of the village were used to create beats.
o) World renowned countertenor Daniel Taylor lent his voice to create
the signature sound of the noble Anurai. Hollow sticks were used to
create beats associated with these hunters who live in an animal
sanctuary littered with animal bones.
o) A female singer and a male percussionist perform live on stage
along with the pre-recorded soundtrack that makes up the shows
soaring cinematic score.
NA'VI SPOKEN IN THE SHOW
------------------------
Oel ngati kameie. | I see you.
Stänì oet, txo tsun! | Catch me if you can!
Mawey, ma prrnen, mawey. | Calm down, my child, calm down.
Uvan si mì sengo alahe, ma eveng. | Go play somewhere else, children.
Pxoeng tìkangkem si ko! | Let us work!
Tìng tsat oer! | Give it to me!
Ngaru fìut! | Here it is.
Vitrautral! Vitrautral! | The Tree of Souls! The Tree of Souls!
Ngari frawzo srak? | Are you all right?
Oe ngar srung sivi ko. | Let me help you.
Lu hasey. | It is finished.
Ma Tsahik! Ma Tsahik! | The Shaman! The Shaman!
Fko kxap si Vitrautralur! | The Tree of Souls is in danger!
Zene pivllhrr ayolour alahe! | We must warn the other clans!
Kä tsatseng
nga ne tsatseng
Kivä! | Go there! You, over there! And there! Go!
Ma Entu! Kempe si nga fìtseng? | Entu! What are you doing here?
Tätxaw ne kelku! | Come back home!
Fwa fìtsengmì ìawn lu lehrrap! | It is dangerous to stay here!
Kawkrr! Oe kawkrr ke tätxaw! | Never! I will never go back!
Toruk nìaw tsun srung sivi fte Vitrautralit zivong. | Only Toruk can help to save the Tree of Souls.
Oel ngati kameie. Oeru syaw Ralu. | I see you. My name is Ralu.
Oeru syaw Entu. | My name is Entu.
Fyape fko syaw ngar? | What is your name?
Oeru syaw
Tsyal. Lu oe hapxìtu Tawkamiyä! | My name is
Tsyal! I am a Tawkami!
Lolu moeyä Tsahìkur äie. | Our Shaman had a vision.
Fwew moel Torukit. | We are looking for Toruk.
Fäzau! | Come aboard!
Irayo! | Thank you !
Irayo, ma Tsyal! Oel ngati tseeia nìmun. | Thank you, Tsyal! I am happy to see you again.
Sran! Tsea nìprrte nìtxan. | Yes! Very happy!
Tìng nari, tanhì a tswayon. | Look, a shooting star.
Lu lor. | It is beautiful.
Lu lor poe. | She is beautiful.
Ma Palukan! | Thanator!
Kä neto, ma Palukan! | Go away, Thanator!
Aynantang! | Viperwolves!
Tul! | Run!
Tul fte rivey! | Run for your life!
Pxenga! | You!
Pxengal tok kllpxìltut ayoeyä! | You are in our territory!
Kä mefo pxengahu ne sray pxengeyä. | We will escort you to your villages.
Zau! | Come!
Zau, ma pali! | Come, direhorse.
Fìtxan yaymak menga lu. | You are so foolish.
Tsurokx awnga fìtseng fìtxono. ! | We stop here for the night.
Tsun oeng fäkivä sìn tskxe. | We can climb on the rock.
Kin awngal Torukit! | We need Toruk!
Mefo lu ftxawneytu. | They are the chosen ones.
Srung si pxoer(u)! | Help us!
Tìsresea! | The prophecy!
Awnga zene kivä peseng? | Where do we go?
Ne taronngip Torukä. | To Toruks feeding ground.
Tsyivìl ko! | Lets climb!
Toruk Makto! | Rider of the Last Shadow!
------------------------------------------------------------
LOOK BACK: Guy Laliberte's Poetic Social Mission
PART 6 of 8: "Departure for Baikonur"
By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
Six years ago, on September 30, 2009, a civilian became a spaceflight
participant aboard Soyuz TMA-16, a manned flight from the Baikonur
Cosmodrome in Kazakhstan to and from the International Space Station
(ISS). Joining two members of the Expedition 21 crew Russian
cosmonaut Maksim Surayev (Commander, from the Russian Federal Space
Agency, FSA) and NASA Astronaut Jeffery Williams (Flight Engineer)
was Guy Laliberté, who paid approximately $35 million USD for his seat
through the American firm Space Adventures, becoming the first
Canadian space tourist in the process. Besides fulfilling a life-long
dream, Lalibertés spaceflight was dedicated to raising awareness on
water issues facing humankind on planet Earth, making his spaceflight
the first in his words poetic social mission in space. And much
of this experience was captured on film and recently spun into a
feature-length documentary entitled TOUCH THE SKY. While the
documentary is a compelling visual look into the experience, the
adventure was also captured by Laliberté himself in the form of an
online journal.
At the time these events were originally taking place, we here at
Fascination were more concerned with the happenings here on Earth
with BELIEVE, ZAIA, ZED, OVO, VIVA ELVIS, and BANANA SHPEEL so we
didnt give much thought to this endeavor. However, thanks to the
recently discovered documentary (the aforementioned TOUCH THE SKY), we
recently re-discovered a text-copy of this journal in our archives,
which allows us to explore this extraordinary time in Cirque du
Soleils history in more detail. Thus in this series well be taking a
look back at Guys Poetic Social Mission through his eyes, from the
journal, in monthly installments, taking you through the initial steps
Guy undertook all the way through to the launch and landing. In Part
1, "The Countdown Begins" we listened as Guy took us through his first
steps. In Part 2, "Training Kicks Up a Notch", Guy got settled in, and
passed a few essential tests. In Part 3, "Getting My Hands Dirty", Guy
gets down into the nuts and bolts of his training. In Part 4, From
Training to Reality, Guy gets a bit more hands on with the actual
equipment hell be flying in. In Part 5, T-30 Days and Counting, Guy
rushes to complete his training with only a few precious days
remaining until lift-off. And now we continue with Septembers logs,
and Guys departure to the Baikonur Cosmodrome, Russias launch
facilities located in the desert steppe of Kazakhstan.
# # #
POST 73 | DAY 174 - SEPTEMBER 17, 2009
DEPARTURE FOR BAIKONUR
On Thursday, September 17, we started the day with an official
ceremony that involved a series of champagne toasts with the
astronauts and their family, the main instructors and the Star City
officers. Some were drinking vodka, but I stayed away from it! The
official photo was taken in front of one of the Star City monuments
with members of the press until it was time to leave for the airport
escorted by military police!
There were two planes: one for the main crew and certain officers, and
another for the backup crew, my coordinator and part of my film crew.
The flight lasted about 3 hours during which more vodka glasses were
raised to this and to that! Luckily, I was able to discreetly escape
for a little power nap on one of the couches. Phew!
As soon as we landed, we were greeted by the Baikonur officers.
Members of the press were also present and more pictures were taken.
We then waited in the bus for the passengers of the second plane to
land and get on their bus. These buses will be transporting us during
our entire stay here and they are specially designed to meet our needs
(for example, there is an air inlet for our spacesuits).
We checked into our rooms and barely had time to unpack our luggage
that it was already time for dinner. During the meal, we were also
given information on what to expect here. I then went back to my
little room and slept for 8 hours. My, that felt good!
* * *
POST 74 | DAY 175 - SEPTEMBER 18, 2009
TRYING THE SOYUZ ROCKET
On Friday, September 18, after our breakfast, the buses brought us to
the area where our Soyuz has been assembled. The atmosphere there was
a bit odd, very much like a hospital, with everyone wearing medical
face masks and lab coats. (Theres no fooling around with germs!) We
put our training suits on and sat down in a little room while one of
the officers explained to us, on the other side of a glass panel, what
our activities would be in Baikonur. Members of the press were also
present.
First, we (the main crew) were led to a large hangar where all the
dismantled pieces of the Soyuz and the habitation module are kept. We
slowly started discovering our cabin, which would be our new home for
a little while. This was a very emotional moment. Even more so
watching Max. Hes been training for this moment for 12 years and he
was like a little boy whos finally received the Christmas gift hes
been wanting for so long!
We were briefed by the person in charge of the Soyuz, who handed us a
list of things to do. Max and Jeff first went downstairs to verify a
few things, then all three of us went into our Soyuz with our
checklist in hand. We were glancing at each other like little boys, so
happy to be living these moments.
When it was time for lunch, it was the backup teams turn to go
through the same operations. After lunch, we performed a first leak
check of our spacesuit, and then a second one, with our spacesuits on
this time. We tested our seats, verified a few things on our
checklist, then the backup team took over to repeat the same steps.
While they were doing this, we had meetings concerning our payload,
the telephones, etc.
During all this, our doctors follow us wherever we go and keep anyone
from coming into contact with us. An odd little group of chaperons!
At least, they let us alone for our 2 hours in the banya (both crews,
without Barbara!). We received such a lashing that Jeff and I still
bear the scars! We then had dinner in the canteen, the only place
where were allowed to eat. The others eat elsewhere and must have
their temperature taken every morning before coming into contact with
us.
* * *
POST 75 | DAY 176 - SEPTEMBER 19, 2009
THE RAISING OF THE FLAGS CEREMONY
On Saturday, September 19, we were entitled to a late breakfast,
followed by the flag-raising ceremony with local authorities. It was a
solemn moment during which both crews raised their flags, as well as
the Kazakhstan (Baikonur) flag. For our crew, this meant Russia for
Maxim, United States for Jeff and Canada for me. We took a few
pictures and had a brief press conference.
Ive started my training and my medical: a 30-minute tilt-table test
along with the famous rotating chairEVERY day (my worst nightmare!).
In the afternoon, we continued training by going over each step
(flight plan, safety, etc.). Our doctors also explained to us why we
have been put in quarantine and what they expect from us. Each of us
submitted our wish list (more fruit in the morning, being able to
bring our own bottle of wine at dinner, seeing our family before lift-
off, etc.) then promised that we would faithfully follow their
instructions. And so, that evening, we drank a nice little bottle of
wine!
After dinner, I talked with my oldest son who told me how well he did
at his go-kart race. He was thrilled (and so was his dad!) to have won
his first race of the year. I was very proud of him.
The doctors added levers at the foot of my bed so that I can sleep
upside down and without a pillow. It took me a while to fall asleep
because the blood was rushing to my head. I also woke up a few times
with the feeling that I had turned over in my bed. Im so glad Im not
a bat!
Oh, by the way, I forgot to tell you! They change our bed sheets every
day here and I was quite surprised to discover that, 2 days out of 3,
I got exactly the same sheets as in Star City. Youd think that
theres only one store in Russia!
* * *
POST 76 | DAY 177 - SEPTEMBER 20, 2009
LIFT OFF IN 9 DAYS
Sunday, September 20, was a very special day. My father, Gaston,
turned 80! Happy birthday dearest dad!
I woke up that morning feeling slightly stuffed up, which worried me.
The doctor reassured me by explaining that this was a normal
consequence of sleeping upside down. Phew!
My day was relatively quiet so I took this opportunity to work out and
do some interviews with my film crew. Each time they come and see me
now, they have to get their temperature taken, wear a mask and keep a
distance of at least 2 metres. Not the warmest of get-togethers, but
quite amusing!
I had another relaxing sauna in the evening and a good glass of wine.
I tried to listen to how I was feeling deep inside and noted that what
made me happy was my ability to concentrate and prepare myself
mentally. And even though everything Im living right now is very
stimulating, I feel very calm and at peace.
Jeff, Max and many others never hesitate to share information with me
and Im all ears when they talk. They tell me to walk a lot, eat well,
rest well and so on. During my spare time, I watch films and
documentaries on space to fully absorb myself in this environment and
atmosphere.
Im so very much looking forward to the coming week. Ive been told
that itll be a relatively quiet one since itll really only get busy
starting Friday. Its crazy to think that in 9 days, Ill be taking
off. I truly am living a dream! Whats more, in such a desert as
Baikonur, Im reminded of the importance of water once again. And so,
fulfilling this dream will take me a step further in reaching another
objective: raising everyones awareness about this precious resource.
* * *
POST 77 | DAY 180 - SEPTEMBER 23, 2009
TRYING OUT THE SOYUZ VESSEL
Monday to Wednesday (September 21 to 23): Our days at Baikonur blend
into one another, as we fall into a light little routine for the week.
In general, we eat breakfast at 10:00 a.m., followed by an
information/review meeting and video presentation. Max and I do 30
minutes of tilt table and rotating chair. Since the rotating chair
doesn't agree with me, I was able to negotiate with my doctor to do it
only every two days. Yay!
An hour a day, we have a signing session to autograph pictures and
posters. I have never signed so many autographs in my entire life;
boy, I don't envy the stars, not one bit! I honestly think I've signed
thousands of them. It's part of the local tradition, whereby people
like to collect pictures, posters, badges, flags, etc. It's also a way
for us to thank everyone involved for all their support and hard work.
Then, we usually have a bit of free time to work out and go for a
stroll in the garden (which is highly recommended to us). We wrap up
with a steam bath (bania) around 6:00 p.m., a little game of Russian
pyramid and a beer. We come back for dinner and everyone enjoys the
good wine I brought from my personal wine cellar! We have some great
discussions all together (main crew and back-up). Still, we have to
eat quickly because we're on a strict schedule, with everything timed
to the minute!
In the evenings, my routine is to read La Presse and Le Journal de
Montréal and to surf the web to find out what's happening in the
world. I also do interviews with the media and my documentary crew,
and I take advantage of my time alone to read all the magazines I get
and don't have time for during training. Of course, I also have work
sessions with Fernand and make a few calls to make sure that the event
on October 9 will run smoothlyeverything seems to be falling into
place.
The weather is nice and warm during the day and cooler at night. As
you know, we are holed up in a specific hotel with all the support
staff. On site, there is a small bar, ping-pong table, and garden with
a view of the steps and river at the very end of the groundsit's
peaceful.
From time to time, you can hear a dog barking, but up to now, I've
only heard a mosquito buzzing in my room once.
I'm slowly working my way through the 3rd season of Heroes; I usually
fall asleep while watching a show.
Every night, I wake up feeling as though I've been swivelling in my
bed. But I don't dream of space aliens kidnapping me or hiding under
my bed, so I can at least be thankful for that! ;-)
* * *
POST 78 | DAY 181 - SEPTEMBER 24, 2009
MEDIA DAY
On Thursday, September 24, we had our media day. Journalists were
invited to spend a very busy day watching how quarantined astronauts
live (with our doctors standing close by, of course!). As a result,
they got a peek of our meetings, video presentations, simulations and
so on. It actually gave me the opportunity to do a docking on the
simulator as my two shipmates watched attentively and proffered sound
advice. The journalists then looked on as we played pool and ping-
pong, and saw us agonize through the tilt table and rotating chair.
In the afternoon, we planted a tree along the garden patha tradition
that started with Yuri Gagarin. Since then, every cosmonaut has
planted a tree before launching into space. I planted one made of
clown noses, to add a little colour to the path! We then had a series
of interviews with the press. All in all, our day was packed, but
nothing out of the ordinary.
We ended the day with a BBQ (with both crews). I don't know if it's
our fresh astronaut blood or the smell of the shashlik, but there was
a mosquito infestation as the sun set. Maybe our doctors had something
to do with it. . . Either way, it worked! We were back in our room and
to our regular routine in no time!
A little anecdote about the rotating chair: This week, I told my
doctors just how deeply I hate this exercise. I don't understand why
they insist on putting me through something that leaves me feeling
miserable and sick. It won't stop me from being sick in space, so why
even bother with this on earth? I was told that I need to be prepared
mentally, but believe me, this exercise does nothing to lift one's
spirits! To my great pleasure and relief, they've taken the rotating
chair off my schedule.
* * *
POST 79 | DAY 182 - SEPTEMBER 25, 2009
SECOND VISIT TO OUR CAPSULE
Friday, September 25, was just a regular quiet day. On the other hand,
Saturday, September 26 was a big day. We woke up early to visit our
capsule for the second time and do a final check.
It started with explanations of the experiments we will be conducting
in space. We had more discussions with the committee and the
traditional drink with the directors. We also enjoyed little cookies,
little cakes and little sandwiches.
We then went to the huge building next door, the one that houses all
the parts of our Soyuz spacecraft. It's pretty impressive! The parts
are now assembled, but the Soyuz itself is still in three pieces.
Everything is packed and ready to go!
We also took the traditional museum tour given by the museum director,
and we signed the official books. We got to visit Yuri Gagarin's old
house, as well as the houses where other cosmonauts lived in
quarantine at the time.
We ended the day brilliantly with our last bania for a while
(boohoo!). . . so we made the most of it!
* * *
POST 80 | DAY 184 - SEPTEMBER 27, 2009
FAMILY AND FRIENDS VISIT
On Sunday, September 27, we all woke up very excited because our
families, children and friends were set to arrive today. And since we
are taking off in only three days, we are also in the final sprint to
finish all our paperwork. The excitement in the air was palpable!
To prepare them for their arrival, we started with a video of my
training bloopers, which generated quite a few chuckles.
Afterwards, from behind the glass, I had the opportunity to see all my
guests (about 50 people in all, including my family). Everyone's skin
was a bit pale, showing their fatigue after the long trip, but they
were all sporting big smiles anyway! I was really happy to see them,
and their support of my adventure warmed my heart.
The heartbreaking side of this experience is to watch my children who
want to give me a kiss, be in my arms, but not being able to due to
the glass pane between us. But I was happy to at least see and talk to
them and the atmosphere was quite cheerful.
However, I got to see my 3 oldest outside, with my love and Julie
Payette, but with a good 10 feet of distance between us.
Unfortunately, they would not allow me to see the other two because
they are too young, therefore more likely to transmit a virus. Later,
Julie returned to the hotel with the children and Claudia and I
enjoyed a tête-à-tête in the cosmonauts' private room. We had a drink,
we talked ... it was a beautiful moment.
Both crews then returned to our quarantine quarters to polish off our
bottles of wine, our hearts full of emotion. Blast-off is just around
the corner!
As I told you earlier, I have had quite a bit of time since I came to
Baikonur to go through my stuff; including reading the comments and
questions you've posted on my blog since June 4th!
During my months of training at Star City, I tried to do as much as
possible in a day. I knew that there were a lot of you following my
adventures on the blog but unfortunately didn't have time to read
everything and especially to reply to everyone. These comments come
from friends, family members, people I've met over the summer, and
people I don't know and probably won't ever meet, but you all have one
thing in common; in your own way, you all tell me what you think, you
encourage me, ask me questions and, above all, confirm that I have
made the right decision in believing that with an idea, you can touch
people and raise their awareness.
That is what struck me most when reading your remarks. You have
followed my stories for many long weeks now; with these stories
sometimes funny, sometimes seriousI wanted you to "train" alongside
me, and you have been a part of my adventure with your encouragement,
your questions and your creative, inspired enthusiasm. You have
written poems, songs, funny little notes and fitting remarks, and I
thank you most sincerely for your generosity. Support is more than
just a financial affair: often it is the little things that count.
I'm pleased to see that lots of closet poets have found their voice
and artists have found inspiration. I have received messages from mums
who tell me that the subjects of space and water have given them the
opportunity to discuss things such as sharing, poverty and sickness
with their children. I am glad that the subject of my project's
relevance has inspired "mini-debates" among people. I agree that
questions should be raised about the cost of this project, the
intentions behind it and the results that it will bring. So many
questions that I have indeed asked myself.
You have taken the time to read what I've had to say, to write to me
and to send words of encouragement. For me, it is important that I
now, in turn, read what you have to say and give you a reply. It would
be impossible for me to reply to you all individually, but as I
believe in the community spirit, I'm going send a message to all of
you together!
When I founded ONE DROP, it was (or rather, it still is) desperately
urgent to do something to protect water. Our objectives target action
on the ground, educational projects (such as AQUA, which several
cities have expressed an interest in) and raising awareness.
I could have done all that in traditional philanthropic ways or even
step by step as we did with Cirque du Soleil, but we don't have 25
years to save the cause of water! And besides, I wanted a different
sort of foundation, something that sets us apart and incorporates art.
ONE DROP is already acting in practical terms, but in the project of
going into space, I saw an innovative opportunity, reflecting the
image of Cirque du Soleil and my own image, too. Of course there is an
element of risk, but that's in my natureand taking risks is an
integral part of my company's culture as well.
Right from the start, I knew that such a project wouldn't get
unanimous support, but I was willing to take the chance. And anyhow, I
wanted to go into space! The stars seemed to be perfectly aligned so
that I could take my gang at Cirque and ONE DROP along with me. What's
more, the international coverage we are getting at the moment seems to
support the fact that it's the right thing to do; I wouldn't have been
able to reach so many people so quickly by doing things the
traditional way.
Beyond the audacity of the project, I know that this mission is
upsetting some of you from an ecological point of view. I am already
committed to respecting the environment in my everyday life, so of
course I was worried about offsetting my carbon footprint for my
flight into space.
Celebrating the 25th anniversary of Cirque du Soleil in the same year
was just perfect timing! I make no bones about it: of course this
project gives the company high visibility as an events organizer. This
free, worldwide event is in step with the humanitarian journey already
embarked on by Cirque du Soleil.
In fact, 1% of the company's income goes towards helping young people:
Cirque du Monde, our status as donor to La TOHU and our assistance in
the St-Michel neighbourhoodnot to mention our support for young
artists. As far as I'm concerned, this $35 M is another investment,
one that has led to interesting partnership requests for ONE DROP.
Will the end result be what we hoped for? In the short term, there are
encouraging signs. In the medium and long term, we'll have to wait and
see! However, I believe that the spin-off effects will make things
easier for other projects out there that support the cause of water.
Of course, it is thanks to my own financial situation that I have been
able to experience such an adventure. And yes, I am also making a
personal dream come true through this mission. I'm having an enriching
experience with a fascinating community. And from your feedback, I am
so happy to see that the drops are gathering together to create a
magnificent wave!
Not so long ago, I was counting the months, weeks, days, now it's just
a matter of hours.... and I am ready!
I don't know how I'm going to be able to continue my blog up there,
but I'll do my best. In any case, rest assured that you will get to
hear all about my life in space!
Your support has given me plenty of propulsion energy, so Soyuz TMA-16
should have no trouble at all lifting off! I send my very best wishes
to you all. I hope you always continue to dream and have the pleasure
of reaching your stars, too.
P.S. By the way, one way you can help me achieve my goal of making as
many people aware about the cause of water as possible is to spread
the word to everyone you know and make sure you are all tuned into the
event on October 9th! Together, let's make the hugest wave possible!
* * *
POST 90 | DAY 185 - SEPTEMBER 28, 2009
2 DAYS TO GO - FEELING GOOD!
On Monday, September 28, I was up at 5:00 a.m. so I went on the
Internet and read the comments readers had left me on my mission log.
Then, I had the usual quiet day: breakfast at 10:00 a.m., a signing
session, a tilt-table test with Max and so on.
At around 7:00 that morning, my guests attended the rollout of the
Soyuz and sent me text messages on how spectacular it was. I was happy
for them since the main crew couldnt assist (but the backup team
did!).
During the evening, my guests called me again while they were taking
part in a typically Kazakh event. Their comments made me laugh and I
rapidly caught on that the vodka was having quite an effect on them!
It was great fun getting phone calls from my gang all day, describing
their activities and everything they were living.
At 6:30 p.m., I spent 30 minutes with Claudia and my brother Jean in
the garden. Then my 3 oldest sons and Julie Payette joined us, along
with the Maxs wife, Jeffs wife, and the kids. And guess what we ate?
Delicious shashlik, of course! An army of mosquitoes attacked us once
again but this time, we were well equipped with the right products
under our doctors strict surveillance! We had a wonderful evening,
all thanks to them by the way.
At 8:30 p.m., the kids went back to their hotel with Jean, and I was
allowed another 30 minutes with Claudia. What a great day this was.
* * *
POST 91 | DAY 186 - SEPTEMBER 29, 2009
1 DAY TO GO - I'M SO EXCITED!
On Tuesday, September 29, I woke up at 4:30 a.m. with a horrible
backache, as if all the tension had built up right there. A good
shower lessened the pain a bit and, with the crew, I presented myself
in front of the big bosses for the commissions last report. This is
the final stage in the flight approval process and it took place
behind a glass panel. (We wore our ties, of course!)
On the topic of ties, during the first official event we attended, I
had told Max and Jeff about my habit of stealing the ties of people
I meet during my travels. I asked them to give me the tie they would
be wearing during our last official meeting so that I could add them
to my collection
and they did so good-heartedly! This was really nice
of them.
After this meeting, we gave a press conference for a number of
journalists on the other side of the glass panel. We answered quite a
few questions, with everyone in good spirits, as usual.
Russian cosmonauts have another tradition as well: watching White Sun
of the Desert with both crews the day before the departure. To add a
little something to the screening, Max modified the poster by putting
our faces on those of the 3 main actors. We even had our personalized
T-shirts! This was quite a touch of humour that made everyone laugh.
Once the film was over, a huge lunch awaited us. We could see that a
special effort had been made to have us taste all sorts of special
dishes.
And I was able to visit all my kids outside. I sat in the grass, they
stayed on the street, and we talked. Afterwards, Claudia and I were
granted one hour together, so we sat on the picnic table and talked.
These were beautiful moments filled with emotion.
Max, Jeff and I had to be in bed by 8:30 that night since we had to
get up at 4:30 the next morning
the big day!!!
Thanks again for your good energy!
# # #
TO BE CONTINUED...
Next month well continue with Moving Stars and Earth for Water (On
Orbit), and finishing up with Back on Earth Mission Success!
Stay tuned!
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 16, Number 2 (Issue #145) - February 2016
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C)
2001-2016 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.
{ Feb.05.2016 }
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