Press Kit
Show Overview
Written and Directed by Daniele Finzi Pasca
Corteo , which means “cortege” in Italian, is a joyous
procession, a festive parade imagined by a clown.
The show brings together the passion of the actor
with the grace and power of the acrobat to plunge the
audience into a theatrical world of fun, comedy and
spontaneity situated in a mysterious space between
heaven and earth.
The clown pictures his own funeral taking place in a
carnival atmosphere, watched over by quietly caring
angels. Juxtaposing the large with the small, the ridiculous
with the tragic and the magic of perfection with the
charm of imperfection, the show highlights the strength
and fragility of the clown, as well as his wisdom and
kindness, to illustrate the portion of humanity that is
within each of us. The music, by turns lyrical and playful,
carries Corteo through a timeless celebration in which
illusion teases reality.
The Acts
(in alphabetical order)
Acro-Duet
Adagio Duet
Artist Marionette
In this beautifully choreographed dance, a
couple gracefully glides through a series of
acrobatic and artistic poses highlighting
superior strength, balance, and rhythm.
This masterful, tender pas-de-deux using
contortion and hand-balancing is performed
by a duo of little people, on a vertical ring set
into a pivoting platform.
Like a live puppet, an artist marionette suddenly
appears in an innovative, rigging apparatus to
play with Mauro the Dreamer Clown in a setting
which evokes a beach scene from his childhood.
Bouncing Beds
Chandeliers
Like a gaggle of young kids playing in their
grandparents’ room, six artists jump on two
600-pound beds that move on rotating
platforms. In a playful atmosphere, they
perform acrobatic feats, each more daring
than the last.
Four women, the Dead Clown’s former loves,
come together in dreamlike joy. They perform
aerial acrobatics on three giant chandeliers that
spin above Mauro’s bed.
Crystal Glasses
and Tibetan Bowls
Implored by Mauro the Dreamer Clown and
the Giant Clown as they prepare to perform
a haunting melody on crystal glasses, the Loyal
Whistler, a whistling virtuoso, showcases his
remarkable talent in a breathtaking performance.
Cyr Wheel
Duo-Straps
Foot Juggling
Five artists perform solos and group figures on
Cyr wheels. The simplicity of the Cyr wheels’
line—a pure circle—sets off the intricate and
energetic performance.
In this mesmerizing act, a duet uses aerial straps
to create a magical and tender connection that
enchants the audience with beautiful displays of
agility, balance and strength.
Elegance, dexterity and coordination are wrapped
up in one character who carries us away to a
world tied to the traditions of old-time circus,
in which Mauro and his friends once played.
Golf
Helium Dance
Juggling
To the sound of bagpipes, a patch of green light
appears, suggesting a golf course scene. The
Giant Clown walks on stage, intent on giving it
his best shot!
A tender and poetic moment between Mauro
the Dreamer Clown and his little Clowness who
bespells the audience with child-like delight.
Four young artists perform fast-moving feats of
prowess in a surprising act that blends juggling
and acrobatics. With unsurpassed style, they defy
the law of gravity as they juggle successively with
rings, hoops and clubs.
Acrobatic Ladder
Little Horses
Paradise
A ladder specialist amazes the audience with his
unnerving balance and finesse as he performs on
various ladders, trying desperately to reach the
angel who is watching him from above.
A couple of “pantomime horses,” each inhabited
by two artists, give the Little Clown a hard time.
By turns, the Little Horse and the Little Mare will
try to break free from their trainer’s grip.
By superimposing a trampoline-like net and
three Korean frame stations placed further
apart from one another as never seen before,
a universe is created in which high-flying and
bouncing come together, as if it were the
most natural thing in the world, in a single
breathtaking act.
Teatro Intimo
Teeterboard
Tightwire
Eight characters pile into a tiny theatre to present
a wild and zany version of “Romeo and Juliet”
where the unexpected awaits at every turn.
Surrounded by two groups of artists lending
rhythm to the act with their voices and
percussion work, three acrobats redefine
teeterboard technique in an act where speed
is rivalled only by complexity.
Surrounded by angels six metres above the
ground, a young woman dances across a
tight-wire using point shoes, a unicycle,
multiple hoops and her bare feet. Then, she
challenges gravity by climbing a 40-degree
diagonal tight-wire to disappear into the
heavens some 12 metres in the air.
Tournik
A group of artists cross paths in an act which
marries horizontal bar techniques with circus
arts. The artists perform on a central cube-shaped
structure, with two additional bars on each side
of the cube. The complexity of the fright pattern
and the defiance of gravity will keep you on the
edge of your seat. A final farewell to Mauro.
The Characters
Mauro the Dreamer Clown
The White Clown
The Loyal Whistler
Mauro the Dreamer Clown is the central
character of the story, the one who is being
honoured by this fantastic funeral … but could it
all be a dream? Whith a former member of the
troupe surrounding him, he dons his costume to
perform onstage one last time.
For the White Clown, appearances are what
matters most. Like Mr. Loyal, he is an authority
figure … at least, he’d like to be. Of all the
colourful characters, he admires only the stars
and scorns the others. He is the one who opens
the door to the magic of the circus for Mauro the
Dreamer Clown.
The origins of the Loyal Whistler lie in the classic
role of “Mr. Loyal,” the ringmaster of traditional
circuses. The Loyal Whistler evokes images of a
former military man, one who has retrained in
the circus arts but never quite lost his former
ways. When he starts to whistle, his boundless
artistic passion comes to the fore.
The Clowness
The Little Clown
The Giant Clown
The Clowness is an actress, a veritable Grande
Dame of the stage, who somehow found herself
a part of this nutty troupe. Her professionalism
and her strength of character allow her to bear
the foolishness of her partners, whom she never
fails to charm.
A diminutive clown who’s in love with the
Clowness, the Little Clown is always ready to
play tricks on his associates. Impish and lively,
he is both an endearing companion and a force
to be reckoned with.
Although only an amateur opera singer, the
Giant Clown imagines himself to be a great
artist of worldwide renown. Without doubt,
it is with him that the Dead Clown is closest,
almost like brothers.
The Little Angel
The August Clown
The embodiment of sweetness and light, the
Little Angel watches over the Dreamer Clown’s
bed and acts as his guide, like Beatrice, who
guided Dante through Paradise. It is the Little
Angel who teaches the Dreamer Clown to fly.
The August Clown is the White Clown’s antagonist.
As much as the White Clown represents order
and appearances, the August Clown is the one
who always messes everything up and, as a result,
finds himself in the most incredible situation.
The August Clown is a physical character: he is
prone to falling down and his fellow stooges give
him a rough ride especially the White Clown.
Set Design
The set and decor of Corteo plunge the audience into a lyrical
world, a strange area between heaven and earth.
The Stage
Set Designer Jean Rabasse has divided the Grand Chapiteau
and its rotating stage in two, with each half of the audience
facing the other half, so they see not only the performance,
but also have a performer’s eye view of the audience. This is
a first for Cirque du Soleil.
• There are two turntables built into the stage, which is
about 31.6 m long, and the track is almost 12.5 m long.
• More than 9,000 images were used in the research and
development phase of the set design to blend many visual
styles and influences, from the baroque to the modern.
The Patience
The Patience is a massive arched technical structure made of
steel which dominates the interior of the Grand Chapiteau.
It is one of the most complex set elements in the show and
is used to transport various scenic elements and pieces of
acrobatic equipment on and off stage from above.
• The Patience has two rails that traverse the
Grand Chapiteau.
• Each rail is fitted with four platform-like carts to carry
the scenic and acrobatic elements.
• The eight carts have a lifting capacity of 450 kg
and a top speed of 1.2 m per second.
• The Patience is 12.5 m above the stage at its highest point.
It is entirely self-supporting and could be set up anywhere.
The Curtains
It was a visit to the exhibition “The Great Parade: Portrait
of the Artist as a Clown” at the National Gallery of Canada
that inspired Jean Rabasse to paint the Corteo Procession on
the curtains. His design was influenced by the work of such
painters as Willette, Picasso, Tiepolo, Pelez and Knight.
• The inspiration for the show’s curtains was an
1885 painting by Parisian artist Adolphe Willette.
• The two enormous baroque-style “Roll Drop” curtains
(17.6 m wide and almost 12 m high), and the four sidewaysopening Italian-style curtains are among the most striking
scenic elements in the show. They were sewn in Canada
and sent to France to be painted.
• It took more than two weeks to paint each of the central
curtains with watercolours.
• The central curtains are attached to huge supports which
contain winding motors to roll them.
The Labyrinth
In the centre of the circular stage is a labyrinth which
precisely reproduces the proportions and size of the classic
design on the aisle floor in Chartres Cathedral.
• The labyrinth incorporates a 20 cm Moebius strip painted
at its centre as a symbol of infinity and continuity.
Costumes & Props
To create over 260 costumes for Corteo’s cast, Costume
Designer Dominique Lemieux set out to accentuate the
natural beauty of the artists.
• She used more than 900 different fabrics, concentrating
on natural fibres such as silks, linens, cottons and lace in
a subtle colour palette that includes blues, pinks, fuchsia
and gold with appliquéd spangles and jewels.
• Many of the fabrics were dyed and airbrushed to give them
a patina of age.
• Every show day, 12 to 16 hours of ironing is needed to
prepare the costumes.
• There are 40 angels in Corteo and 4 types of angels: Arc
Angels, Little Angels, Grand Angels and Auguste Angels.
• The smallest shoe size in the show is a children’s size 3
and the largest is an 18 EEE.
Acrobatic & Rigging Material
Corteo features a variety of innovative acrobatic equipment
elements that were invented at Cirque du Soleil and designed
to mesh seamlessly with the set design.
• The “Paradise” act brings together two circus skills that
have never been combined before: the Korean Cradle and
the Tramponet (a combination of trampoline and safety
net). The artists are thrown between three Korean Cradle
stations placed at an unprecedented distance from each
other, and rebound off the Tramponet, which is 30 m long.
• The “Tournik” consist of a steel frame and twin high bars
mounted on the stage turntables.
• The “Lustres” are giant chandeliers that float in
mid-air above the stage. They are decorated with
some 4,000 sparkling “jewels” and garlands of
reflective acrylic spheres.
• There are three custom-built ladders in the show, each
designed to meet a different acrobatic demand. They
include a bungee ladder and a tall ladder which is almost
4.5 m high.
Creators’ Biographies
Guy Laliberté was born in Quebec City in 1959. An accordionist, stilt-walker and fire-eater, he
founded Quebec’s first internationally renowned circus with the support of a small group of
accomplices. A bold visionary, Guy Laliberté recognized and cultivated the talents of the street
performers from the Fête foraine of Baie-Saint-Paul and created Cirque du Soleil in 1984.
Guy Laliberté was the first to orchestrate the marriage of cultures and artistic and acrobatic
disciplines that is the hallmark of Cirque du Soleil. Since 1984, he has guided the creative team
through the creation of every show and contributed to elevating the circus arts to the level
of the great artistic disciplines.
Cirque du Soleil has become an international organization, as much in terms of its makeup
as in the scope of its activities and influence. Guy Laliberté now heads an organization with
activities on five continents.
In October 2007, Guy Laliberté entered into a second lifetime commitment by creating
ONE DROP to fight poverty around the world by providing sustainable access to safe water.
This new dream stems from the knowledge that the right to water is key to the survival of
individuals and communities all over the world and from the values which have been at the
heart of Cirque du Soleil since its inception: the belief that life gives back what you have given
and even the smallest gesture will make a difference.
In September 2009, Guy Laliberté became the first Canadian private space explorer. His
mission was dedicated to raising awareness of water issues facing humankind on planet
Earth. Under the theme Moving Stars and Earth for Water, this first Poetic Social Mission in
space aimed at touching people through an artistic approach: a special 120-minute webcast
program featuring various artistic performances unfolding in 14 cities on 5 continents,
including the International Space Station.
Awards and distinctions
Guy Laliberté
Guide and Founder
Université Laval (Quebec) awarded an honourary doctorate to Guy Laliberté in 2008. The
year before, Guy Laliberté was award the Ernst & Young Entrepreneur of the Year award
for all three levels: Quebec, Canada and international. In 2004, he received the Order of
Canada, the highest distinction in the country, from the Governor General of Canada. The
same year, he was recognized by Time Magazine as one of the 100 most influential people
in the world. In 2003, he was honoured by the Condé Nast Group as part of the Never Follow
Program, a tribute to creators and innovators. In 2001, he was named a Great Montrealer by
the Académie des Grands Montréalais. In 1997, Guy Laliberté received the Ordre National du
Québec, the highest distinction awarded by the Government of Quebec.
For Daniele Finzi Pasca, Corteo represents a kind of full circle, a bringing together of all
the threads of his professional career. As a young man growing up in Switzerland, he was
a competitive gymnast. He went on to work in the circus, and eventually established a
reputation in theatre as a writer and director.
Daniele was born into a family of photographers. “Then my mother became a painter,” he
says. “I grew up surrounded by images and imagery. And I put them into motion.”
Perhaps the most formative event in his life was a trip he took to India, where he worked as
a volunteer looking after terminally ill patients. On his return to Switzerland, he founded a
company called Sunil’s Clowns, which changed its name to Teatro Sunil in 1986. Teatro Sunil
is still “home,” but Daniele also travels the world, with his own productions and as a guest
director with other theatre and circus companies.
A prolific writer, Daniele does not restrict his creative output to the stage. He has also
published Come acqua allo specchio, a collection of short stories. (The show Passo Migratore is
based on one of the stories from this collection).
Daniele’s lifelong fascination with clowns and clowning took root at the famed Circus Nock,
where he performed in an acrobatic clown number. He has since developed a personal
approach to the tradition which he has presented in courses and workshops for companies
and organizations all over the world, including Canada’s National Circus School and Cirque du
Soleil. He also directed the highly-acclaimed Cirque Eloize shows Nomade - La nuit le ciel est
plus grand et Rain - Comme une pluie dans tes yeux.
Corteo is inspired by the death and funeral of a clown, and draws on a clown figure from a
past long before the existence of circus—a time when clowns were not the stereotypes we
know now, but far more complex characters. Daniele says the show is “situated at a strange
level between heaven and earth, where the gods and humans can interact through the
medium of circus.”
Daniele Finzi Pasca
Creator and Director
The show’s environment takes its inspiration from many architectural sources, especially
Chartres cathedral and its labyrinth, which symbolizes the journey of life for Daniele Finzi
Pasca. “The labyrinth is a great voyage: To find yourself, you have to lose yourself,” he explains.
Daniele Finzi Pasca was born in Lugano, Switzerland.
Line Tremblay has worked in the creative world of Cirque du Soleil since the foundation of the
company in 1984.
Before joining Cirque, Line worked in film and television, notably as an sssistant director at
Radio-Canada. Starting in 1992, she worked as Franco Dragone’s assistant in the creation of
the Cirque du Soleil shows Mystère, Alegría, Quidam, “O” and La Nouba. She was also the
Artistic Director of Quidam. Her close working relationship with Franco gave her an insight
into the inner workings of show direction.
A newcomer to the equestrian field, Line worked with Gilles Ste-Croix as his assistant in the
creation of the 2000 show Cheval Théâtre. She worked with Franco Dragone once again in the
creation of the Celine Dion show A New Day. She returned to Cirque du Soleil in 2003 to work
on Corteo as the first woman in Cirque’s history to occupy the position of Director of Creation.
The Director of Creation’s job is to produce a synergy and create an atmosphere of unity in the
creative team. Line also took part in the recruiting of the team, which includes several firsttimers at Cirque, and she played an active role in the casting of the artists. With the creative
team in place, Line oversaw the meshing of each member’s individual artistic approach with
the overall creative philosophy of Cirque du Soleil.
Line first fell in love with Cirque du Soleil in 1984, drawn by its freewheeling spirit, a spirit
she says has never gone away. “When I was a kid I wasn’t crazy about the circus. But I
discovered the childlike wonder of it in 1984. For me, the circus is the most complete art form.
It addresses the audience on the visual, emotional and physical level all at the same time. I
have become a child of the circus. I was destined to a life in this milieu.”
Line Tremblay was born in Hull, Canada.
Line Tremblay
Director of Creation
Oscar nominee and César winner Jean Rabasse has worked extensively in dance, theatre
and cinema as a set designer and decorator. He has been the resident designer for Philippe
Découflé’s dance company, DCA, for more than ten years.
Jean was nominated for an Academy Award and won the César for his sumptuous, elaborate
designs for the 2001 film Vatel. His other film credits include Astérix, directed by Claude Zidi,
The Dreamers, directed by Bernardo Bertolucci, La Cité des enfants perdus and Delicatessen
directed by Caro and Jeunet, and Norman Jewison’s The Statement.
Almost simultaneously, Jean Rabasse designed two Cirque du Soleil productions: Corteo and
The Beatles LOVE for the Mirage Hotel in Las Vegas. He says he never likes to do the same
thing twice. “I like to mix things up. My signature is to pay very close attention to the details,
the colours, the surfaces, the textures. To be very meticulous about these things, and to never
repeat myself.”
For Corteo, Jean Rabasse and Director Daniele Finzi Pasca decided to divide the rotating
stage in two, with half the audience facing the other half, so they would be able to see the
performance but also have the performers’ point of view of the audience beyond.
Jean Rabasse
Set Designer
“My basic concept for the show is that the audience is entering a theatre where the same
circus has been playing for 200 years,” explains Jean. “I love this idea because it allows me to
mix up all kinds of styles from the baroque to the modern. But the last thing we wanted to do
was recreate a kitschy old-fashioned circus, because we must have the modernity and youth
of Cirque’s acrobatics and high technology, which really doesn’t exist anywhere else.”
Jean Rabasse was born in Tlemcen, Algeria.
Dominique Lemieux designed the costumes for all Cirque du Soleil productions between
1989 and 1998. Every single show she has worked on—We Reinvent the Circus (1989),
Nouvelle Expérience (1990), Saltimbanco (1992), Mystère (1993), Alegría (1994), Quidam
(1996), “O”, La Nouba (1998), Corteo (2005), ZAIA (2008) and Banana Shpeel (2009)—bears
her unique imprint.
As a costume designer, Dominique does a lot more than simply outfit the artists. Her designs
play a key role in creating the fantastic characters that populate the Cirque du Soleil universe.
With an expert eye, Dominique weaves colours, patterns and fabrics into fabulous
costumes. But her choice of material is not strictly guided by aesthetic considerations alone.
For Dominique, determining how fibres react to skin, movement, fire or water is of vital
importance, and she never loses sight of the artists’ needs.
Dominique’s passion for drawing started at an early age and led her to study Fine Arts at
Concordia University. After earning her degree, she worked as an art designer and children’s
book illustrator. She later enrolled in the scenography program at Canada’s National Theatre
School (NTS), where the courses she took in drawing and costume design took her career in a
whole new direction.
Dominique Lemieux
Costume Designer
To create the costumes for Corteo, Dominique Lemieux wanted to accentuate the natural
beauty of the artists. “The show’s theatrical approach distinguishes it from all previous Cirque
du Soleil shows,” she explains. “We are closer to traditional circus, in which the humanity of
the artists is revealed. That translated into costumes that resemble regular street clothes.”
Dominique Lemieux was born in Montreal, Canada.
A virtuoso in the emotion of movement, choreographer Debra Brown, former gymnast–
turned-dancer is world-renowned for her unique choreographies blending acrobatics and
dance.
In 1986, at a friend’s suggestion, Debra snuck into the Cirque du Soleil Grand Chapiteau
during the intermission to catch the second half of a show. Captivated by what she saw, she
discovered many parallels between Cirque’s artistic approach and her own. The following
year, she joined the troupe as a choreographer for We Reinvent the Circus and went on to
choreograph the shows Nouvelle Expérience, Saltimbanco, Alegría, Mystère, Quidam, “O”,
La Nouba, Corteo, one act in Zumanity and ZED. Following Corteo, she created a cabaretstyle show called Line One for her own company.
Debra Brown
Choreographer
Ever keen to diversify and reinvent, Debra continued forging her impressive and unconventional
creative path, working with artists and groups from a wide variety of disciplines. At the 1990
Festival Mondial du Cirque de Demain in Paris, her work with a group of contortionists—
showcasing her famous “quadruped choreography” in which four people become a vehicle—
won her the Soviet Press Award for Most Outstanding Choreographer. She also choreographed
John Corigliano’s opera The Ghosts of Versailles, for the world premiere presented at
the Metropolitan Opera in New York and Wagner’s Ring cycle, put on by the Lyric Opera of
Chicago. In 1995, she worked with Luciano Pavarotti on the Metropolitan Opera’s production
of La Fille du Régiment (The Daughter of the Regiment) in New York.
At the height of her international fame, Debra set her sights on the world of rock music,
choreographing Aerosmith’s Jaded video and energetic performance for the American
Music Awards in 2001, as well as Madonna’s Drowned world tour the same year. Debra
has also worked with major musical acts such as Shakira and Wyclef Jean (2006 World
Cup Soccer finals), Celine Dion and Madonna, and her film work includes Catwoman,
Van Helsing and Barney’s Great Adventure.
Over the years, Debra has picked up numerous prizes and awards. At the 14th Bob Fosse
Awards in Los Angeles in 1997, she received the Innovative Choreography Award in honour
of her exceptional contribution to choreography and dance. In 2002, she received an Emmy
for her choreography of an act created by Cirque du Soleil for the Academy Awards.
Debra Brown was born in Brantford, Canada.
A self-taught keyboard player, composer and prolific electronic musician since the 1980s, JeanFrançois Côté is very active on the LA music scene. He has also worked with many of Quebec’s
leading singers and trailblazing groups. He is known for mixing existing styles seamlessly with
electronic music to invent new forms.
Jean-François was a promising hockey player as an adolescent, but he discovered his true
calling at the age of 16 when he started playing keyboards with rock and soul groups on
the Montreal music scene, developing sounds and a style that were uniquely his own.
At the same age he got a job as a security guard for the very first Cirque du Soleil show.
“At night,” he recalls, “I would sneak behind René Dupéré’s keyboard to make music and
polish my technique.”
Years later, Jean-François was playing keyboards for singer Julie Masse and was noticed by
Cirque du Soleil composer Benoit Jutras. That encounter led to his first formal association with
the company as Musical Director and Conductor for Cirque shows “O” and Mystère. He also
created the sound design for the Taiko drum sequence in the Cirque Imax film Journey of Man.
Jean-Francois Cote
Composer
Jean-François says Cirque is one of the most stimulating environments in which to work as a
composer. “ In spite of its size, Cirque has remained true to its primary vocation: the creation
of quality shows. The liberty they give to the creators is unequalled.”
Jean-François Côté was born in Montreal, Canada.
Composer, arranger and conductor Philippe Leduc describes himself as a workaholic, and
that is borne out by the sheer volume of his work. His compositions and arrangements have
literally been part of the background music of daily life in Quebec since the early 1980s.
Philippe has been in demand as a composer of advertising jingles for a wide variety of national
and international accounts. But as prolific as he has been for commercial clients, he has
always made time for his own compositions.
Philippe describes his orchestral score for Corteo as “very visceral music,” but he is quick to
add that there are many ethereal passages and passionate moments, too.
“I started with the physical,” he says. “There is a relationship between the movements of the
performers and the music. In a very broad sense, the music is operatic. I’m trying to stretch the
musical spectrum at Cirque.”
Philippe sees Corteo as a show full of contrasts and musical moods, from solo guitar to an
imposing orchestral presence. “It’s very beautiful at the end,” he says, “but along the way
it’s funny, too. There are surprises and laughter around every corner. There are medieval
influences with ancient instruments and traces of the 1930s but it’s all very current music.”
Philippe Leduc
Philippe Leduc was born in Montreal, Canada.
Composer and
Musical Director
Maria Bonzanigo has worked closely with Corteo Director Daniele Finzi Pasca since joining his
company Teatro Sunil in 1984 (before it was even known by that name). Her music has been
integral to many of the Sunil’s best-known shows, including Te Amo and Tres Tristes Tangos.
Maria has also appeared in Sunil productions as an actress and dancer, and has worked as a
director and choreographer too, for her own music and for other composers’ works.
“Working with Daniele Finzi Pasca for more than 20 years, we created a language together,”
says Maria. “A way to communicate intimately with the audience and the music is an integral
part of that language.”
For Corteo, Maria Bonzanigo is sharing the duties of composer with Philippe Leduc. She has
been concentrating on the portion of the music that is performed by the artists in the show,
while Philippe has been developing the orchestral soundtrack compositions.
“We’re taking artists and acrobats and putting them in a show that is more theatre than
circus,” explains Maria. “The music reflects that theatrical aspect of the show. The style is
a kind of modern/medieval, with African, Asian and Latin American rhythms. It’s new and
simple at the same time.”
Maria Bonzanigo was born in Lausanne, Switzerland.
Maria Bonzanigo
Composer and
Musical Director
Martin’s professional credits include around 100 theatrical productions. He made his debut
at Cirque du Soleil with Corteo in 2005 which he followed with Kooza in 2007 and more
recently Viva ELVIS.
Before coming to Cirque du Soleil, Martin Labrecque created the lighting for two acclaimed
circus shows produced by Cirque Eloize, Rain and Nomade, directed by Daniele Finzi Pasca.
Martin is therefore familiar with Daniele Finzi Pasca’s humanist and poetic world view, and
that’s why he is seeking to bring out the emotional dimension of Corteo through his lighting.
“My first intention is to highlight the emotion—the subtext—of the show,” he says.
In a subtle balance of traditional techniques and modern overtones, Martin’s design evokes
the ambience of a more traditional circus combined with a playful contemporary spirit.
“I’m using chandeliers, footlights and flashlights in a panoply of isolated lighting effects to
create an intimate atmosphere for the show,” he explains. “And I’m using lateral lighting as
the basis of the concept. That’s because the division of the stage in two—which is a first for
Cirque du Soleil—more or less dictates the lighting setup for Corteo.”
Martin Labrecque was born in Montreal, Canada.
Martin Labrecque
Lighting Designer
Jonathan Deans, one of the most sought-after sound designers in the musical theatre world,
is the man behind the sound environments of Corteo. Having created the soundscapes of
Saltimbanco, Mystère, “O”, La Nouba, ZUMANITY, KÀ, The Beatles LOVE, KOOZA, Wintuk, OVO,
CRISS ANGEL Believe and, most recently, Viva ELVIS, Jonathan finds Cirque’s work-in-progress
and team-oriented creative approach highly stimulating.
At 15, he joined the Royal Shakespeare Company as an actor where his keen interest in sound
began to blend with a theatrical context. Several years later, after a spell as a sound engineer
in the music industry, notably at Morgan Studios where he brushed shoulders with artists
such as Cat Stevens, Paul Simon and Rick Wakeman, he made his way back to the theatre via
the Royal Opera House, Covent Garden, and later went on to mix the sound for the musical A
Chorus Line. One success soon followed another and he became the sound mixing engineer
for over a dozen productions including Evita, Cats, Bugsy Malone and The Sound of Music.
Jonathan’s success as a mixing sound engineer led to him being hired as sound designer
on the musical Marilyn. This was followed by work on other West End shows including
Time, Les Misérables, Mutiny, Jean Seberg and then on Broadway, Ragtime, Fosse, King
David, Damn Yankees, Taboo, Brooklyn, Lestat, Pirate Queen and Young Frankenstein.
Jonathan Deans
Sound Designer
For Jonathan Deans, Cirque’s permanent theatres and its Grand Chapiteau are two quite
different worlds when it comes to sound design. “There are different technical demands, but
as far as the texture and the layering of the music and sound are concerned, it’s the same,”
he says. “My work is to create a unique environment for every production. And whatever
the environment is, I need to make sure that sonically the audience members know they are
entering a different world.”
The innovative staging of Corteo posed a real challenge for Deans because the set, the
performance space and the audience are split in two with a 360-degree seating plan. He had
to ensure that the general sound is in perspective to what each section of the audience is
viewing—and that called upon all his skills and experience.
Jonathan Deans was born in England and lives in the New York area.
Acting Coaches Hugo Gargiulo and Antonio Vergamini come to Corteo from Teatro Sunil,
the theatre and dance company founded by the show’s Director, Daniele Finzi Pasca in
Switzerland in 1983.
Motivated by a deep commitment to humanitarian principles, Daniele has placed the
tragicomic figure of the clown at the core of Teatro Sunil’s productions such as Rituale,
Icaro, Aittestás, Visitatio, Te Amo and Tres Tristes Tangos to express a broad range of human
experiences and emotions. He has called Sunil’s emphasis on sensitivity and the sense of
touch “the theatre of caress.”
Hugo Gargiulo and Antonio Vergamini have been key members of the Sunil creative team
as actors and directors for many years and have been working closely with all the artists
of Corteo (including the musicians) to develop their acting skills and introduce them to
the world of the clown.
“Our challenge was to bring out the fragile side of the acrobats,” says Hugo, “as they are more
used to putting the spotlight on their strength.”
Hugo Gargiulo
& Antonio Vergamin
Acting Coaches Teatro Sunil
Working with a large cast has given the two coaches the opportunity to finally realize artistic
dreams they have held for a long time. However, many of the artists they work with have
never acted before. “Their lack of experience is a challenge,” admits Antonio. “But it also
means they are more generous and ready to be open. Above all, our challenge was to bring out
the fragile side of the acrobats. We would like each artist to contribute something unique.”
Asked to describe the show, Hugo says there will be many dream-like images and a great deal
of humanity on stage. “The artists will not be hidden by their makeup or their costumes, they
will be presenting themselves to the audience,” he adds. “We wanted the audience to see in
their faces the children they once were and the old people they will become.”
Hugo Gariulo was born in Uruguay.
Dolores Heredia was born in Mexico.
Antonio Vergamini was born in Italy.
Dolores Heredia
Dramaturgical Analyst
Teatro Sunil
Danny Zen first arrived at Cirque du Soleil in 1990 to work as a welder in the company’s
workshops.
Danny went on the first European tour of Cirque Réinventé in 1990, then moved on to Nouvelle
Expérience, the first show he worked on as a rigger. He toured with Saltimbanco in 1992 as a
tent technician. He was chief rigger for Quidam in 1996 and, as head technician for Cirque’s
Creation Studio, he contributed his expertise to the creation of Alegría, Mystère, Quidam,
Dralion, Varekai, “O”, La Nouba and KÀ.
Because he is involved in the design and creation of the equipment in Corteo, Danny Zen
sees the work of the rigger as more than mechanical. “It is creative in its own way,” he says.
“We have to work closely with the set designer to create new equipment—such as the
lustre—which are acrobatic devices and at the same time, set elements. That calls for a
marriage between technological requirements and the artistic demands of the show.
Danny Zen
Danny is constantly aware of the need for safety as the first priority for any piece of
equipment or set element used by the artists and has worked to develop the safety standards
in use throughout Cirque’s productions. He has also been active in the training of all riggers
for the company. “The riggers are the people closest to the artists,” he explains. “They’ve got
the artists’ lives in their hands.”
Acrobatic Rigging
Designer
Makeup Designer Nathalie Gagné has been fascinated by makeup and its influence on the
actor’s craft since her teens. She studied theatre production at Cégep de Saint-Hyacinthe,
a community college in Quebec, then went on to become one of the first graduates of the
Montreal subsidiary of the famed Paris-based makeup school École Christian Chauveau.
Before joining Cirque du Soleil, Nathalie worked in theatre, film and television.
Since Cirque performers have to apply their own makeup, Nathalie involves them in the actual
creation of their onstage look. “Unlike actors, acrobats aren’t used to studying their own
faces,” she says. “One of my goals is to get them to do just that, and help them find within
themselves what I call ‘lines of force’ that will serve to build their characters.”
“Makeup is a reflection of the character’s soul. It’s also a magic wand that sweeps away
inhibitions,” says Nathalie, who since 1995 has crafted more than 1,000 makeup designs for
Cirque, choosing her final concepts from over 5,000 sketches.
Nathalie Gagné
Makeup Designer
Nathalie is also responsible for ensuring the integrity of all makeup designs that bear her
signature. Since the performers apply their own makeup, workshops in makeup techniques
are now part of the general training provided to Cirque du Soleil artists. Nathalie first teaches
performers how to do their own makeup, and then writes a step-by-step application guide for
each of them.
Nathalie introduced new makeup concepts to the shows Mystère, Alegría and Saltimbanco,
which led her to work with Director Franco Dragone and Costume Designer Dominique
Lemieux. Following her work on Quidam, “O”, La Nouba, Varekai, Zumanity, KÀ, Corteo,
DELIRIUM, LOVE, ZAIA and CRISS ANGEL Believe, Nathalie added a 15th contribution to the
creation of a Cirque du Soleil show with Viva ELVIS.
Nathalie Gagné took an entirely different approach to create the urban/romantic characters
in Corteo. “I had to delve into the emotions of the artists, to find their true nature,” she
explains. “We didn’t created fictional characters as we did for all previous shows. For Corteo,
the characters emerged from the artists’ own faces, thanks to the makeup.”
This methodology corresponds to the humanist approach taken by the show’s director, Daniele
Finzi Pasca, especially when it involves the clowns. “According to Daniele, most children are
afraid of clowns,” says Nathalie. “But children will want to hug the clowns in Corteo.”
Fast Facts
The Show:
• C orteo first premiered in Montreal in 2005. Since then
the show has visited more than 60 cities in more than
18 different countries around the world.
• Although you will generally hear French and English
spoken on-site, many other languages are spoken: Spanish,
Portuguese, Russian and more.
• C orteo celebrated its 1,000th performance in January 2008 • About 130 employees travel with the tour (including 60
in San Diego, USA; its 1,500th in June 2009 in Nagoya,
Japan; its 2,000th performance in September 2010 in
Kazan, Russia; and its 2 500th performance in January
2012 in Barcelona, Spain, its 3,000th performance in Sao
Paulo in Brazil and its 3,500th show in Bogotá, Colombia.
• As with all Cirque du Soleil productions, no animals
perform in Corteo.
• 8 million people have been enthralled by the world of
Corteo.
Cast and Crew:
The cast and crew is an international one, representing the
following 24 nationalities (the cast is from the 19 countries
indicated in bold): Argentina, Armenia, Australia, Belarus,
Belgium, Brazil, Canada, China, Columbia, France, Germany,
Italy, Japan, Kazakhstan, Netherlands, Romania, Russia,
Spain, South Africa, Sweden, Ukraine, Uzbekistan, United
Kingdom and United States.
performers).
• The tour relies on local suppliers for many essentials such as
food, bio-diesel fuel, dry ice, machinery, food & beverages
for patrons, banks, delivery services, recycling, and waste
management—thereby injecting significant money into the
local economy.
• During an engagement in a city, over 150 people are hired
locally for a variety of jobs including ticket takers, ushers,
janitors, receptionists, etc.
• The kitchen employs one kitchen manager and 3 cooks.
• Two performance medicine people (1 physiotherapist
and 1 therapist) travel with the tour.
Village on Wheels
Cirque du Soleil’s mobile village includes the Grand Chapiteau (Big Top), one large entrance tent, artistic tent, box office, kitchen,
school, offices, warehouses and more. Completely self-sufficient for electrical power, the site relies only on a local water supply
and telecommunication facilities to support its infrastructure.
The Site
The Entrance Tent
•
•
The site takes 8 days to set up and 3 days to deconstruct.
•
A
total of 90 trailers are needed to transport more than
1,000 tons of equipment that Corteo carries around.
A few of these trailers are used during the season as
storage spaces, kitchen and workshops.
The Tapis Rouge Tent
•
F ive 500 kva generators provide electricity to the
Big Top and infrastructure.
•
T
he Grand Chapiteau, the artistic tent and the
Tapis Rouge tent are entirely climate controlled.
•
A large entrance tent holds the merchandise, food
and beverage counters.
The Tapis Rouge tent hosts up to 250 guests
and is available for private functions.
The Artistic Tent
•
he artistic tent includes a wardrobe area, dressing rooms,
T
a fully equipped training area and a physiotherapy room.
The Grand Chapiteau
The Kitchen
•
• The kitchen is the heart of the village – not only does it
T
he seating capacity of the Grand Chapiteau
is approximately 2,600.
•
onceived by a team of Canadian engineers, the canvas
C
was produced by a French company who specializes in
sails and big tops: Les Voileries du Sud-Ouest.
•
T
he canvas for the tent and its 11 tunnels weigh
approximately 11 500 pounds.
•
he Grand Chapiteau is 19 meters high and has a
T
diameter of 51 meters.
•
T
he 4 masts stand at 25 meters above the ground.
serve between 200-250 meals per day, six days a week
it is also the meeting place for cast and crew alike.
CIRQUE DU SOLEIL AT A GLANCE
From a group of 20 street performers at its beginnings in 1984, Cirque du Soleil is
a major Québec-based organization providing high-quality artistic entertainment.
The company has close to 4,000 employees, including 1,300 artists from more
than 50 different countries.
Cirque du Soleil has brought wonder and delight to close to 155 million
spectators in more than 300 cities in over forty countries on six continents.
For more information about Cirque du Soleil, visit www.cirquedusoleil.com.
The mission
The mission of Cirque du Soleil is to invoke the imagination, provoke the senses
and evoke the emotions of people around the world.
The Creation of Cirque du Soleil
It all started in Baie-Saint-Paul, a small town near Québec City in Canada. There,
in the early eighties, a band of colourful characters roamed the streets, striding on
stilts, juggling, dancing, breathing fire, and playing music. They were Les Échassiers de Baie-Saint-Paul (the Baie-Saint-Paul Stiltwalkers), a street theatre group
founded by Gilles Ste-Croix. Already, the townsfolk were impressed and intrigued
by the young performers – including Guy Laliberté who founded Cirque du Soleil.
The troupe went on to found Le Club des talons hauts (the High Heels Club), and
then, in 1982, organized La Fête foraine de Baie-Saint-Paul, a cultural event in
which street performers from all over met to exchange ideas and enliven
the streets of the town for a few days. La Fête foraine was repeated in 1983
and 1984. Le Club des talons hauts attracted notice, and Guy Laliberté, Gilles SteCroix and their cronies began to cherish a crazy dream: to create a Québec circus
and take the troupe travelling around the world.
In 1984, Québec City was celebrating the 450th anniversary of Canada’s discovery by Jacques Cartier, and they needed a show that would carry the festivities out
across the province. Guy Laliberté presented a proposal for a show called Cirque
du Soleil (Circus of the Sun), and succeeded in convincing the organizers. And
Cirque du Soleil hasn’t stopped since!
A Few statistics
• In 1984, 73 people worked for Cirque du Soleil. Today, the company hires
close to 4,000 employees worldwide, including 1,300 artists.
•A
t the Montreal International Headquarters alone, there are close to 1,500
employees.
• More than 100 types of occupations can be found at Cirque.
• The company’s employees and artists represent more than 50 nationalities
and speak 25 different languages.
• More than 155 million spectators have seen a Cirque du Soleil show since
1984.
• Close to 15 million have seen a Cirque du Soleil show in 2014.
•C
irque du Soleil hasn’t received any grants from the public or private sectors
since 1992.
In 2015, Cirque du Soleil will present
19 different shows around the world.
TOURING shows IN ARENAS
Europe/Middle East/Asia
North America/Europe
North America
Touring shows under the big top
North America/Europe
South America
Asia
Australia/Asia
Europe/North America
North America
RESIDENT shows
Mexico
Luxor
in Las Vegas
MGM Grand
in Las Vegas
Walt Disney World® Resort
in Orlando, Florida
The Mirage
in Las Vegas
Mandalay Bay
in Las Vegas
Treasure Island
in Las Vegas
Bellagio
in Las Vegas
ARIA Resort & Casino
in Las Vegas
New York-New York
Hotel & Casino
in Las Vegas
Amaluna, Corteo, JOYÀ, KÀ, KOOZA, KURIOS – Cabinet of Curiosities, La Nouba, Mystère, “O”, OVO, Quidam, TOTEM, TORUK – The First Flight, Varekai, Zarkana, Zumanity – the Sensual Side of Cirque du Soleil, Cirque du
Soleil, Sun Logo, are trademarks owned by Cirque du Soleil and used under license. The trademark LOVE is owned by The Cirque Apple Creation Partnership and used under license. The Beatles is a trademark owned by
Apple Corps Limited. The trademarks CRISS ANGEL and Believe are owned by Criss Angel and used under license. Michael Jackson THE IMMORTAL World Tour is a trademark owned by Cirque Jackson I.P., LLC.
Trademarks used under license. Michael Jackson ONE is a trademark owned by Cirque Jackson I.P., LLC. Trademarks used under license. The Michael Jackson name, image, likeness and associated trademarks and logos are
owned by Triumph International, Inc. and used under license. © 2010 Cirque Jackson I.P., LLC.