======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ '/ ___/ ___/ / __ \/ __ '/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 ------------------------------------------------------------ http://www.CirqueFascination.com ------------------------------------------------------------ ======================================================================= VOLUME 19, NUMBER 1 January 2019 ISSUE #180 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. Let's jump right in... * * * SOME CONGRATULATIONS ARE IN ORDER * * * On December 25th, Mystère celebrated its 25th anniversary. And in celebration of reaching this fantastic milestone, Cirque is launching a new VIP experience called "In the Wings", a rather exciting exper- ience you can read a more about a little further down! On December 28th, Kooza announced they were the best-selling show in Korea for the year! "Cheers to all 190,000 ecstatic spectators and thank you for being so amazing!" This is fantastic news! And... On January 1st, Kurios celebrated a milestone: "After just eleven months and three cities we’ve welcomed one million guests in Japan! We are speechless so we’ll just say thank you with big smiles and an even BIGGER sign! Arigatou gozaimasu!" - WOW! * * * ALEGRIA: THE RETURN OF AN ICON - MAKES A SPLASH * * * In the week leading up to press time Alegría's social media pages have been abuzz with activity. First, with a brand new video (a TV commercial) for the new tour launching in April, which you can see here: https://www.facebook.com/Alegria/videos/274839910051973/. But also a surprise release of the re-imagined "Vai Vedrai" song from the show, which you can find in a variety of places: o) YouTube: https://youtu.be/kOHKVTUmups o) iTunes: https://itunes.apple.com/album/vai-vedrai/1448428052 o) Spotify: https://open.spotify.com/album/4swKt6MfKPuI4TOPesIAgJ New costumes, new music, new tour. Alegría: The Return of an icon makes its debut under the big top in the Old Port of Montreal on April 18, 2019! * * * "DIVA" MAKES WAY FOR "REBEL" IN ANDORRA * * * In July, Andorra will live to the beat of the thrilling new show from Cirque du Soleil. REBEL, the new Cirque du Soleil show in Andorra, pays tribute to icons of song through a soundtrack inspired by love, one of the most often explored themes of music. Love, whether it be crazy, frenetic, ephemeral, platonic, passionate, etc., is an indescribable feeling but, one that has given shape to rhythms, melodies and lyrics and created the most beautiful songs of all times. Watch the new astonishing acrobatics and get carried away by the dramatic rhythms of the songs that have been the soundtrack to our love stories. You will understand that the world really does need love. REBEL will be per- formed every Tuesday, Wednesday, Thursday, Friday and Saturday from the 29th of June of the 27th of July 2019, with a final show on Sunday the 28th. The 60-minute show will start at 22:00 and there will be a pre-event activity. The covered venue will be located at the Parc Central in the Andorra la Vella city centre, with capacity for 5,000 people. For more information visit: https://rebel.visitandorra.com/en/ * * * "IN THE WINGS" - MYSTERE'S NEW VIP EXPERIENCE * * * "In the Wings" at Mystère joins the "KA VIP Imperial Experience", "Toast to LOVE", and "Le Grande VIP Expérience" at «O» for premium, up-scale experiences at your favorite Cirque du Soleil shows in Las Vegas. Each show offers something a little different, and "In the Wings" is no exception. The "In the Wings" VIP experience offers guests a once in a lifetime opportunity to be a part of Mystère. Here's what you get... o) Pre-Show Cocktail - Enjoy an exciting pre-show experience with cocktails and good company. o) Exclusive access - get early theater access to enjoy exclusive time with the artists from Mystère. You will also participate to the finale high-five moment with the cast. o) Exclusive Meet-and-Greet - Meet with the cast of Mystère during an exclusive meet-and-greet! o) Premium Seats - Enjoy a VIP seating and get the exclusive "in the Wings" view from the stage. o) Champagne - Sip on a glass of champagne while enjoying the performance. o) Gifts - Receive a commemorative photograph How much? Right now the Mystère VIP Experience is priced at $271.41 base ticket with a $17.95 convenience fee and a $5.00 electronic ticket fee. And it's only available at the 7:00pm show. Seating appears to be Section 103, Row H, which is not what I would consider a VIP location, however, your mileage may vary. Check out the experience here: https://www.facebook.com/Mystere/videos/1705508439555548/. Either way, this is an exciting opportunity for any fan. I wish I could go take advantage of this now! * * * LEAD ROLES IN "PARAMOUR: DAS MUSICAL" REVEALED * * * On April 5, 2019, Cirque du Soleil's PARAMOUR will grace the stage of Hamburg's Stage Theater New Flora. In addition to the Atherton Twins (who on January 3rd posted a clip of their final performance in VOLTA, which you can see here: https://www.facebook.com/AthertonTwinsArtists/ videos/2264055990280560/), you'll find the following three talents taking the lead roles in the musical: Anton Zetterholm (Joey) - Anton Zetterholm is one of the best-known musical actors in the German-speaking world. In 2008 ,he was personally selected by Phil Collins for the lead role of Tarzan in the SAT1 talent show "Me Tarzan, Du Jane". He then appeared as Fiyero (Wicked), as Alfred (Dance of the Vampires) and as Crown Prince Rudolf (Elisabeth) on stage. In 2013, he made his West End debut in Les Misérables in London. In 2015, he was juror in the Pro7 / Sat1 show Got To Dance. Most recently, he returned to his homeland in the Swedish revival of The Phantom of the Opera as Raoul de Chagny, where he had once started his ballet training. Vajèn van den Bosch (Indigo) - Vajèn van den Bosch played smaller supporting roles in musicals as a child. Her first major role was at the age of 16 in The Sound of Music. It was followed by roles such as Sandy (Grease), Princess Tessa in the musical De Gelaarsde Kat or the lead role of Gloria Estefan in the STAGE ENTERTAINMENT production Musical on your Feet. In addition, the Dutch and The Voice Kids finalist (2012) is successful as a singer and in TV and film. Pasquale Aleardi (AJ) - Pasquale Aleardiis one of Germany's most sought after actors. So you know him as Commissioner Dupin from the eponymous crime series in the ARD, from major productions such as "Gotthard", or as a father in "The Puberty" and from movies such as "Men's Heart", "What a man" or "honey in the head ". International attention he found, among others, the side of Milla Jovovich in the movie "Resident Evil". Besides the drama, music is his passion. He regularly thrills the audience with his band "Aleardi and the Phonauts". In 2015, he took on the Broadway in New York and then in Stuttgart as a guest star the main role of the lawyer Billy Flynn in the musical Chicago. Tickets are on sale now. Get them here! (Warning, page in German only...) https://www.stage-entertainment.de/musicals-shows/hamburg/paramour/ preise-infos/preise-infos.html Okay, so let's go! /----------------------------------------------------\ | | | 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 =========== CONTENTS =========== o) Cirque Buzz -- News, Rumours & Sightings * La Presse -- General News & Highlights * Q&A -- Quick Chats & Press Interviews 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 * Videos -- Official Peeks & Noted Fan Finds o) Fascination! Features * "The Eclectic Lab Makes it's Debut in India" Special: BAZZAR in the Presse * Jean David's Quel Cirque, Part 1/12: "The Early Years" A Special Series Celebrating Cirque's 35th Anniversary o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= *************************************************************** LA PRESSE -- General News & Highlights *************************************************************** ------------------------------------------------------- MSC Reveals New Cirque at Sea Shows for MSC Bellissima {Dec.05.2018} ------------------------------------------------------- MSC Cruises has revealed today details of the two new Cirque du Soleil at Sea shows that are being created specifically for MSC Bellissima. The breath-taking shows will be called SYMA – Sail beyond Imagination and VARÉLIA – Love in Full Color and will be available exclusively to MSC Bellissima guests, following her launch in March 2019. The long-term partnership between MSC Cruises and Cirque du Soleil first began in 2013 and has since set new standards in live entertainment at sea. The partnership, in total, will result in eight original shows that cannot be seen anywhere else in the world, exclusively on MSC Cruises' Meraviglia generation ships coming into service between 2017 and 2020. MSC Meraviglia was the first ship to debut the new Cirque du Soleil at Sea concept with the launch of the two shows VIAGGIO and SONOR last June. Work is already underway for MSC Grandiosa, launching in November 2019, and MSC Virtuosa, launching October 2020. Pierfrancesco Vago, MSC Cruises' Executive Chairman commented, "The partnership with Cirque du Soleil is truly special. With the creation of Cirque du Soleil at Sea we wanted to bring our guests the very best in onboard live entertainment and more importantly something that they would not be able to see anywhere else in the world. As a family company, all of our strategic partnerships are built on shared values and a shared vision — a true collaboration from beginning to end. With Cirque du Soleil at Sea we wanted to bring yet more innovation to our entertainment offering, and this began with the bespoke design and construction of the state-of-the-art entertainment lounge — the only such venue at sea — through to the creative development of the shows, where we are involved every step of the way from early conception right through to final delivery of the shows." Yasmine Khalil, Chief Executive Producer, Cirque du Soleil & President, 45 DEGREES stated, "We are thrilled to embark on our second MSC Cruises ship as we pursue Cirque du Soleil's journey at sea. We could not have wished for a better partnership where thanks to the purposely built theater, the Carousel Lounge, our teams can unleash their creativity and continue to push the boundaries of entertainment at sea. Joining VIAGGIO and SONOR, our first two shows on MSC Meraviglia, Cirque du Soleil continues to reinvent itself through an intimate theater experience, where two new shows are created exclusively for MSC Bellissima which promise to take MSC Cruises' guests on an entirely new journey. We look forward to revealing some of the details of these 2 new shows." TWO ORIGINAL SHOWS TO SURPRISE AND DELIGHT MSC BELLISSIMA GUESTS Mr Vago continued, "It is really quite incredible that we will develop together eight original shows, two for each of the initial four Meraviglia class ships. Every element of each show is unique from the concept and storyline, the characters, the costumes and make-up through to the music, staging and sound effects. This is unparalleled within the cruise industry and means that guests are able to experience original, truly distinct and spectacular Cirque du Soleil at Sea shows only on board our Meraviglia generation ships." SYMA – Sail Beyond Imagination takes viewers on the epic journey of a young sailor, brimming with imagination. On this bold expedition, he braves the elements, plunges into troubled waters and discovers the mysterious island of his dreams, populated by surreal, and colorful creatures. We all carry our own imaginary island inside of us, so what are you waiting for? SYMA awaits. Immersive video images, an original set design, bioluminescent lighting and acrobatic feats make SYMA an unforgettable show. VARÉLIA – Love in Full Color puts a futuristic twist on a traditional medieval tale. It traces the arduous course of an unconventional courtship between a princess with distinctive violet skin and a charming hero who is blind. Their budding romance is thwarted by a villain who, in a fit of madness, kidnaps the royal. With the help of his friends, the brave young hero formulates a plan to rescue his beloved. Delight in the acrobatic feats, the laser show and the unique set design of this futuristic medieval tale. STATE-OF-THE-ART ENTERTAINMENT VENUE The Carousel Lounge is a purpose-built entertainment venue hosting just over 400 guests each night and specially designed for the needs of the Cirque du Soleil at Sea artists. Creating an immersive and intimate spectacle for MSC Cruises guests, the space allows viewers to fully connect with the artists. With an investment of €20 million each (approx. $22.7MM USD), the lounge features state-of-the-art technology and high specification technical features to deliver an exceptional and memorable entertainment experience for guests. The 360° rotating stage is set in the middle of the lounge with seating all around to maximize the viewing experience. The central stage also rotates, meaning guests can see the action from different angles during every performance. Another important element to the impressive stage layout is a 131-ft.-long LED screen, which is integral to each show and creates an immersive performance. Cirque du Soleil performances are renowned for their aerial acts, and special rigging has been developed on board to enable the artists to perform their impressive aerial acrobatics. The shows on board MSC Bellissima will feature additional new and exciting special effects and features. Positioned at the aft of the ship on deck 7, the Carousel Lounge offers stunning views of the ocean. Guests can enjoy the beautiful views and pre-show entertainment while having dinner or sipping a cocktail before the performance starts. FINAL PREPARATIONS UNDERWAY The artists for the new shows have now been cast and, after training at Cirque du Soleil Headquarters in Montreal, Canada, the team will soon embark on board MSC Bellissima where final preparations will be underway. All of the artists have been carefully selected for their special performance skills and the specific needs of the two shows. The performers have also been trained to the high standards required of Cirque du Soleil performers. BOOKING INFORMATION Cirque du Soleil at Sea is a pre-booked experience for guests with competitive rates and can be booked in advance, or on board during the cruise, if availability allows. Guests can either book to enjoy a three-course menu of palate-pleasing dishes served before the show ($39). Or sip on a specialty cocktail ($17) and enjoy the pre-show that begins 30 minutes before the start of the Cirque du Soleil at Sea performance. { SOURCE: MSC Cruises } ------------------------------------------------------- Famed Moscow Circus Cracks The Whip at The Cirque {Dec.21.2018} ------------------------------------------------------- Money, sanctions, and the Kremlin are getting mixed up with tigers, acrobats, and monkeys to create a new circus in Russia, but it’s not getting many laughs, oohs, or aahs. The Moscow State Circus — a beloved Russian institution whose decades of performances have included bicycling bears, lion tamers, clowns, and trapeze artists — is worried. More specifically, it’s Edgard Zapashny, the circus’s general director, who is fretting. His concern? Competition from the West. At a Kremlin meeting on December 15, Zapashny alleged that the famed Canadian troupe, Cirque du Soleil, was seeking to undermine the Moscow circus by angling to build a facility in Moscow for performances and training. At the meeting — which was chaired by President Vladimir Putin and included prominent figures from Russia’s cultural and artistic community — Zapashny complained to Putin about rising costs for his legendary circus, which had been slated for partial privatization until 2007 when Putin signed a decree maintaining the organization as a state-owned entity. Zapashny, who is an animal trainer by profession, said he had no problems with the internationally acclaimed Cirque du Soleil’s traveling performances visiting Russia regularly. But the group’s proposal to build a dedicated facility on Moscow’s outskirts was too much, particularly since his circus troupes haven’t been allowed to make extended trips to Canada, he suggested, because of Western economic sanctions imposed on Russia in recent years. “They don’t let us come [and stay there]. They’ll say: ‘Come on over, do your work, thank you, then go home.’ And here we are, at a time when Canada actively introduces sanctions against us, and we for some reason remain hospitable,” he said. “No one stops them from coming here with temporary shows. They’ve been coming here for more than 10 years now,” Zapashny said. But the proposed permanent home in Moscow “will definitely have an adverse effect on Russian sports as well as the Russian circus.” Zapashny’s complaint elicited mild acceptance from Putin, who said he was on Zapashny’s side. “Basically, this is a struggle for the market and throwing the gates wide open [to other circuses] — well, I don’t know,” Putin said. Watching Cirque du Soleil perform in Russia, he said, “that’s one thing, but giving them the opportunity to flourish on our soil, on our territory, that’s a completely different story. “My position is close to yours,” Putin told Zapashny. Zapashny’s comments sparked an angry response from the developer of the proposed facility, which is to be located at Skolkovo, a high-tech business park just outside Moscow’s city limits. The Safmar Group, which is owned by the billionaire developer Mikhail Gutseriyev, said the new facility is not intended solely for Cirque du Soleil, but for any performance or theatrical groups. “We did not invest and are not going to invest in the development of the Canadian circus. Our relations with Cirque du Soleil are strictly within the framework of a lease agreement and we intend to build neither a dedicated site nor a circus school for Cirque du Soleil,” the company said in statement published on December 17. “These statements [by Zapashny] are nonsense — that is, a complete fantasy by the animal trainer Zapashny. Therefore, we consider Zapashny’s hallucinations to be brazen slander and an outright lie,” it said. Cirque du Soleil, the Montreal-based troupe whose death-defying performances have turned it into a worldwide multimillion-dollar entertainment giant, also issued a statement, denying it was seeking a permanent home in Moscow and saying its only relationship with the Safmar Group was as a tenant at the proposed facility. Dmitry Peskov, the Kremlin spokesman, walked back Putin’s tepid support for the Moscow State Circus’s position on December 17. “Saying that [the] state should support our national circus would be absolutely right…[but] to say that the state should create absolutely comfortable conditions for our circus while somehow restricting the work of the foreign ones that tour here would be wrong,” he said. The Moscow State Circus’s woes are similar to what other circuses have faced, namely growing competition from other forms of entertainment, including Internet and video games. But big circuses have also come under fire for the continued use of animals in their shows. One of the oldest and most famous circuses in the world, the U.S.-based Ringling Brothers and Barnum & Bailey Circus, ended its operations last year, citing a huge drop in ticket sales. But the circus — which famously billed itself as “The greatest show on Earth” — had earlier phased out the use of elephants in its acts after years of pressure and lawsuits from animal rights groups who claimed the pachyderms were mistreated or abused. The Moscow circus has similar problems. In 2013, a Russian rights group published a secret video on YouTube that showed workers at the Moscow State Circus and two other famous Russian circuses whipping and beating a kangaroo, several poodles, and two monkeys. At the time, there was little reaction outside of the small community of animal rights activists and no circus employees were punished because of the incidents. But the growing number of countries around the world that are restricting the use of animals in circus performances is putting increased pressure on the Russian circuses. On December 19, the Russian lower house of parliament gave final backing to legislation that forbids animal abuse. It’s unclear how the legislation will affect circus performances. In an interview on December 18 with Current Time TV, a project of RFE/RL in cooperation with VOA, Zapashny lashed out at animal rights activists. “We are being guided by pseudo-animal rights defenders and by animal nutjobs, people who are, at best, mentally deficient, fanatics, extremists,” he said. Cirque du Soleil, by contrast, uses no performing animals in its shows. { SOURCE: Radio Free Europe Radio Liberty } ------------------------------------------------------- Blue Man Group sells building at first Opportunity {Dec.21.2018} ------------------------------------------------------- Opportunity has knocked on the Blue Man Group’s door. The performance art company’s property at 48 Clinton St. will be the first in Manhattan to be sold to a Qualified Opportunity Fund in an Opportunity Zone. The small mixed-use building, with 5,467 square feet, sits on the Lower East Side between Stanton and Rivington streets on the east side of the block. The buyer, Dr. Arani Bose, is the co-founder of the medical device company Penumbra. Under Opportunity Zone rules, he will be investing a gain from another investment vehicle and intends to redevelop the building for his private foundation, the brokers said. Michael F. DeCheser, Patrick Dugan, Mei Ling Wong, Andrew T. Berry and Bryan Hurley of Cushman & Wakefield marketed the building for the performance group, which was itself bought by Cirque du Soleil last year. The pricing was $988 per square foot, but its 4,653 square feet of development rights can bump a new project to 10,120 square feet, so the raw pricing drops to $534 per buildable square foot. The four-story building has been owned by entities of the Blue Man Group for a decade. There is a residential duplex upstairs with terraces, while the lower two stories have served as a production and recording studio. The recording facility, LoHo Studios, has been used by Phish, Willie Nelson, John Mayer, Joey Ramone, Phish, Patti Smith, Lindsay Lohan, OAR, Art Garfunkel and Joan Jett. Hurley said the property is located in one of just three small Opportunity Zones on the Lower East Side. Since the new US law designated such zones across the country, the pool of buyers for these properties has widened to more than just real estate investors seeking 1031 tax-free exchange purchases. “We put up a sign in September and the buyer was walking by and called off [of] the sign,” said DeCheser. According to Anchin CPAs’ Marc Wieder and Jeffrey Bowden, any seller of a home, apartment, stock, collectible, art or business is able to roll their gains into an Opportunity Zone project. Over time, such an investment allows investors to both step up the tax basis on the gain and defer the taxes. That’s why investors are now pumped up about rolling gains into real estate that can be redeveloped. DeCheser and Hurley are marketing another Lower East Side Opportunity Zone property at 347 E. 4th St. for $3.5 million. This is a commercial building that’s a candidate for a residential conversion and is now getting more investor interest, DeCheser said. { SOURCE: New York Post } ------------------------------------------------------- Daniel Lamarre & André Simard Appointed Order of Canada {Dec.27.2018} ------------------------------------------------------- Cirque du Soleil Entertainment Group is extremely proud of the appointment of Daniel Lamarre, President and CEO of Cirque du Soleil Entertainment Group, as Officer of the Order of Canada, and the appointment of André Simard, retired Acrobatic Designer of Cirque du Soleil, as Member of the Order of Canada. For over 15 years now, Mr. Lamarre has been devoting his energy and expertise to expand the visibility of Cirque du Soleil Entertainment Group and its talents internationally by building one of the most recognized Canadian brands in the world. He is also the mastermind behind the rapid transformation that the company is currently experiencing, as it evolves from a circus-based company to a true leader in the entertainment industry. In his personal life, Daniel Lamarre has been consistently involved in various charities that benefit the arts and education, with a devotion that extends beyond philanthropy. To this day, he contributes his heart and his expertise in sundry capacities on various boards of directors. He has also used his skills as a creator to found C2 Montreal, a one-of-a-kind international business conference. For these reasons, and many more, he fully deserves this prestigious honour which acknowledges his remarkable achievements and his contribution to the country. The 4,000 employees of Cirque du Soleil Entertainment Group consider themselves fortunate to be able to count on his continuous leadership. The international entertainment company would also like to congratulate André Simard for his distinguished appointment. Mr. Simard completely revolutionized the world of aerial acrobatics, both within Cirque du Soleil and throughout the world, thanks to his technical contribution to a secure safety-line system and to the development and promotion of the acrobatic silk. He also played an important role in the success of Cirque du Soleil Entertainment Group as he was the Acrobatic Designer for over 15 of its hit shows. Cirque du Soleil Entertainment Group would like to join the Governor General in recognizing André Simard’s achievements and remarkable devotion to the circus community. { SOURCE: Cirque du Soleil } *************************************************************** Q&A -- Quick Chats & Press Interviews *************************************************************** ------------------------------------------------------- The Cirque star who found rejuvenation on Lamma Island {Dec.15.2018} ------------------------------------------------------- The atmosphere electric, the music soaring, each night Rose Winebrenner took to the stage in front of a rapt audience. After 20 years’ hard work, the mezzo soprano had the lead role in Zaia, a theatrical extravaganza by Cirque du Soleil in Macau. Beginning in 2008, it was intended to run for a decade. But after just four years the show was cancelled. Winebrenner’s dreams were dashed; her life turned upside down. In the depths of despondency, she retreated to Lamma Island in Hong Kong, hoping for a new beginning. There, she found an artistic environment that enabled her to reset, and a combination of experiences that led her back to the stage. “Lamma has been integral in reinventing and rediscovering myself,” Winebrenner, who is in her late 40s, says. “If Zaia hadn’t taken its last bow, I probably wouldn’t have ever come here. It has affected me profoundly, to the depths of my being.” Lying just 3km to the southwest of Hong Kong Island, Lamma is known locally as one of the territory’s most laid-back places to live. Comprised largely of countryside and possessing no high-rise buildings, the population stands at 5,900. No vehicles are allowed on the island except for miniaturised emergency vans and a handful of small trucks for construction materials: for this reason it is considered safer and quieter than many parts of Hong Kong. And, as life in urban Hong Kong grows ever more frenetic, the attraction of Lamma has grown both for families, and those wanting to prioritise peace over pace. The curtain fell on Zaia for the last time on February 19, 2012, Winebrenner remembered how someone had told her that if she ever wanted to relax in Hong Kong, Lamma was the place. She packed a suitcase and took a ferry to the city. On Lamma, everything fell into place. “I met musicians and artists who immediately befriended me, asking me which village I lived in and how long I had lived here,” she recalls. “They obviously thought I fit in.” She found an affordable flat and settled into enjoying her surroundings, from the sounds of nature, to Cantonese opera performances, to the recordings of Indian musician Ravi Shankar. She went back to creating music. Fellow musician Michael Pantekoek, 45, a classical guitarist, producer and music teacher from Canada, says the artistic environment is part of the island’s fabric. “Lamma’s definitely got more than its fair share of creative people. The community is a large part of what has kept me here,” says Pantekoek, who has lived on the island for 11 years. “The proximity to nature, the hiking trails and beaches, the somewhat serene lifestyle are a large part of it.” Ocean Lam, a Hong Kong DJ and a well-known fixture in Hong Kong’s electronic music scene, recognises this description. “I agree there’s nowhere else in Hong Kong like Lamma,” she says. “There’s no traffic, no car noise; it’s very natural. I think that’s why you’ll see musicians finding inspiration there.” Lam lives in the far busier Chai Wan district on Hong Kong Island, but visits Lamma several times a year to enjoy the surroundings. Living in urban Hong Kong, she says, reminds her of another of Lamma’s qualities: the cost of rent, which she says “will never reach Hong Kong Island levels”. In 2017, the average cost of renting a 450 sq ft flat in Hong Kong reached a record HK$15,900 (US$2,036) per month. According to James Fisher of property agent Spacious, flats on Lamma cost considerably less to rent, at between HK$8,000 and HK$10,000 for the same 450 sq ft. “That’s materially lower than many places with similar commute times to Central,” Fisher says. The reason is commuters have only one option when it comes to transport, the ferry. But, to the island residents, that lack of choice is a price worth paying. “It’s always been off the beaten path,” Pantekoek says. “That makes it more reasonable in terms of living expenses.” More than that, he believes it is Lamma’s eclectic community that makes it stand out – and he is upbeat about the future. “If anything, the artistic community has grown since I’ve been here,” he says. “We have more people who are calling Lamma home who are professional, full-time artists.” As well as a thriving music scene, the island has its own visual arts organisations, such as the Lamma Art Collective, an art space in the island’s largest village, Yung Shue Wan. Lamma is also home to many of Hong Kong’s gallerists, who in recent years have seen a burgeoning of the city’s art trade. Winebrenner suggests island life is not for everyone: drawbacks range from “incessantly barking dogs and jackhammers” to “stinging centipedes in my bed, poisonous snakes, giant spiders and wild boars on the trail, and feral packs of dogs with their poop”. But counterbalancing these, she says, are “haunting birdsong, the distant blare of foghorns, spontaneous jam sessions, breathtaking sunsets, dragon dancers, cymbals and incense”. After five years, Winebrenner is now back on the road – this time in Italy, with Italian circus troop Le Cirque, performing in Alis, an original show for which she has composed three new songs. “I’m somehow magically back on stage,” she says. “Except that this time, I am performing my own compositions for thousands of people and learning Italian culture, music and language. “I’d say my coming to Lamma Island to reinvent myself as a composer and producer is working out.” { SOURCE: South China Morning Post } ------------------------------------------------------- What it’s really like to be part of the Cirque? {Dec.20.2018} ------------------------------------------------------- As [TOTEM] arrives in London, [Harpers Bazaar] spoke to three women who work there and asked: What it’s really like to be part of the Cirque du Soleil? There aren’t many shows that keep you on the edge of your seat, make you laugh and boast beautiful costumes, but Cirque du Soleil’s TOTEM does just that. It tells the story of the human species, from our original amphibian state up to modern man. The characters evolve on a stage, telling the story through performance, costume and an incredible stage set. To celebrate the show coming to the Royal Albert Hall in London in January, we went backstage at the current show in Paris, to speak to the women who really know what life in the circus is like. Cirque is a very multi-cultural workplace “Learning to work with so many different people is a good challenge. We all come from different backgrounds and cultures but, even within cultures, there are so many different stories. You learn how to address people and how you want to be addressed; sometimes you have to tell people that’s not OK and that has been a good challenge. We have to learn to do those things.” – Esi Acquaah-Harrison, singer Diets aren’t restrictive, but protein is key “My dance partner would never complain about what I eat or what I weigh, so I’m never going to have restrictions. Instead I eat what I want, but I do remember to eat a lot of protein because of the intense routines and exercise required. One thing I will never do is deprive myself with what I eat, whether that’s french fries or chocolate. I listen to my body.” – Melanie Dupuis, trapeze performer There’s more to the costumes than their appearance “It’s our job to make sure that the artist feels safe and comfortable, so that they’re ready to go on stage. They need to be fully focused on their performance – it must be the only thing that’s inside their head. We might do little things to help them, like fitting padded protection on a hip or an arm inside their costumes, so they aren’t worrying about whether their costume is right.” – Deborah Linden, Head of wardrobe Hair and make-up is more complicated than it seems “We have a lot of headpieces, so we use a lot of hair pins and grips. Sometimes we braid the hair around the headpiece and then add grips. With a wig, we use a wig cap with latex elastic that hugs the head.” – Deborah Linden, Head of wardrobe Stretching is a crucial part of exercise “Doing the show keeps me in shape, but I also need to stretch a lot so I don’t suffer an injury. In this company we do a lot of shows, so it’s good to do training that pushes the body to work differently and that helps maintain stamina. Otherwise, the exercise you do gets repetitive.” – Melanie Dupuis, Trapeze performer The performers still get scared “The trapeze is really high and it’s not always secure, but we always have a mat underneath. I always have fear in mind, but it pushes me to do the movement. Breathing helps me to to get over the scary part. I trust my body because I know I train a lot for this so I know that my body knows what to do. I try not to think about it too much and tell myself, ‘Ok Mel you know how to do it so go for it!’ I also trust my my partner, which is crucial.” – Melanie Dupuis, Trapeze performer Cirque performers sacrifice their personal life “We are a touring show, so your life is where the work is. Unless you’re on sabbatical, on leave for medical or you’re off for a long time you don’t get to go home often. There is no work-life balance because I’m just not in London, which is where my family and friends are.” -Esi Acquaah-Harrison, Singer Being upside down a lot has its perks “Training at Cirque has helped my spatial orientation because I’m often upside down and I need to know where to go and where to look. It’s hard to understand your body at that point because you need to feel a movement rather than think it too much. I was surprised about how fast you can adapt and how you can understand further the space around you.” – Melanie Dupuis, Trapeze performer Cirque careers have a shelf life “It depends for each artist – some stop when they want to have a family, but there’s one artist here who has had a child and continued training afterwards to stay on the show. The type of job you do within Cirque also comes into it; a juggler or a clown could do their job for longer because it’s less physical than what I’m doing. For me, it depends on my partner and for how long his body can cope with the stretch and pressure.” – Melanie Dupuis, Trapeze performer { SOURCE: Harpers Bazaar UK } ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Amaluna, Koozå, Kurios, Luzia, Totem & Volta} o) ARENA - In Stadium-like venues {TORUK, OVO, Séptimo Día, Crystal & Corteo} o) RESIDENT - Performed en Le Théâtre {Mystère, "O", Zumanity, KÀ, LOVE, MJ ONE & JOYA} 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 ------------------------------------ Alegria-25th Anniversary: Montreal, QC -- Apr 18, 2019 to Jul 21, 2019 Gatineau, QC -- Jul 31, 2019 to Sep 1, 2019 Toronto, ON -- Sep 12, 2019 to Dec 1, 2019 Amaluna: Dallas, TX -- Jan 23, 2019 to Feb 17, 2019 Phoenix, AZ -- Mar 15, 2019 to Apr 14, 2019 Los Angeles, CA -- Apr 25, 2019 to May 26, 2019 Bazzar: New Dehli, IN -- Dec 25, 2018 to Jan 20, 2019 Abu Dhabi, UAE -- Mar 6, 2019 to Mar 16, 2019 Koozå: Auckland, NZ -- Feb 15, 2019 to Mar 3, 2019 Valencia, ES -- May 30, 2019 to Jun 16, 2019 Gijon, ES -- Jul 31, 2019 to Aug 18, 2019 Malaga, ES -- Sep 13, 2019 to Sep 29, 2019 Kurios: Nagoya, JP -- Nov 22, 2018 to Jan 27, 2019 Fukuoka, JP -- Feb 15, 2019 to Mar 31, 2019 Sendai, JP -- Apr 19, 2019 to May 29, 2019 Singapore, SG -- TBD Luzia: Houston, TX -- Jan 11, 2019 to Feb 24, 2019 Orlando, FL -- Mar 8, 2019 to Apr 21, 2019 New York City, NY -- May 3, 2019 to Jun 9, 2019 Hartford, CT -- Jun 19, 2019 to Jul 7, 2019 Totem: London, UK -- Jan 12, 2019 to Feb 26, 2019 Vienna, AT -- Mar 9, 2019 to Apr 22, 2019 Geneva, CH -- May 9, 2019 to Jun 2, 2019 Gran Canaria, ES -- Jul 5, 2019 to Aug 4, 2019 Düsseldorf, DE -- Dec 19, 2019 to Jan 19, 2020 VOLTA: San Francisco, CA -- Nov 15, 2018 to Feb 3, 2019 San Jose, CA -- Feb 13, 2019 to Mar 24, 2019 San Diego, CA -- Apr 3, 2019 to May 5, 2019 Chicago, IL -- May 18, 2019 to Jul 6, 2019 Denver, CO -- Jul 19, 2019 to Aug 25, 2019 Atlanta, GA -- Sep 13, 2019 to Nov 30, 2019 ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ TORUK - The First Flight: Barcelona, ES -- Jan 18, 2018 to Jan 27, 2018 Madrid, ES -- Jan 30, 2018 to Feb 3, 2018 Pamplona, ES -- Feb 6, 2019 to Feb 10, 2019 Milan, IT -- Feb 14, 2019 to Feb 19, 2019 Lyon, FR -- Feb 20, 2019 to Feb 24 2019 Bratislava, SK -- Feb 28, 2019 to Mar 3, 2019 Krakow, PL -- Mar 6, 2019 to Mar 10, 2019 Antwerp, BE -- Mar 14, 2019 to Mar 17, 2019 Paris, FR -- Apr 4, 2019 to Apr 14, 2019 Moscow, RU -- Apr 19, 2019 to May 5, 2019 St. Petersburg, RU -- May 8, 2019 to May 12, 2019 Helsinki, FI -- May 15, 2019 to May 19, 2019 Vilnius, LT -- May 22, 2019 to May 26, 2019 Prague, CZ -- May 31, 2018 to Jun 2, 2019 Munich, DE -- Jun 5, 2019 to Jun 9, 2019 Zurich, CH -- Jun 12, 2019 to Jun 16, 2019 Manchester, UK -- Jun 20, 2019 to Jun 23, 2019 London, UK -- Jun 26, 2019 to Jun 30, 2019 OVO: Lisbon, PT -- Jan 3, 2019 to Jan 13, 2019 Murica, ES -- Jan 16, 2019 to Jan 20, 2019 Belo Horizonte, BR -- Mar 7, 2019 to Mar 17, 2019 Rio de Janeiro, BR -- Mar 21, 2019 to Mar 31, 2019 Brasília, BR -- Apr 5, 2019 to Apr 13, 2019 São Paulo, BR -- Apr 19, 2019 to May 12, 2019 CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE: Baton Rouge, LA -- Jan 3, 2019 to Jan 6, 2019 Tupelo, MS -- Jan 10, 2019 to Jan 13, 2019 Kansas City, MO -- Jan 16, 2019 to Jan 19, 2019 Columbus, OH -- Jan 23, 2019 to Jan 27, 2019 Milwaukee, WI -- Jan 30, 2019 to Feb 3, 2019 Regina, SK -- Feb 7, 2019 to Feb 10, 2019 Edmonton, AB -- Feb 13, 2019 to Feb 17, 2019 West Valley City, UT -- Mar 7, 2019 to Mar 10, 2019 Ontario, CA -- Mar 13, 2019 to Mar 17, 2019 Bakersfield, CA -- Mar 20, 2019 to Mar 24, 2019 Sacramento, CA -- Mar 27, 2019 to Mar 31, 2019 Stockton, CA -- Apr 3, 2019 to Apr 7, 2019 Everett, WA -- Apr 10, 2019 to Apr 14, 2019 Duluth, MN -- Apr 19, 2019 to Apr 21, 2019 Omaha, NE -- Apr 24, 2019 to Apr 28, 2019 Madison, WI -- May 1, 2019 to May 5, 2019 Peoria, IL -- May 8, 2019 to May 12, 2019 Grand Rapids, MI -- May 15, 2019 to May 19, 2019 Saginaw, MI -- May 22, 2019 to May 26, 2019 Frisco, TX -- Jun 13, 2019 to Jun 16, 2019 Philadelphia, PA -- Jun 20, 2019 to Jun 23, 2019 Kingston, ON -- Jul 3, 2019 to Jul 7, 2019 Erie, PA -- Jul 10, 2019 to Jul 14, 2019 Charlotte, NC -- Jul 17, 2019 to Jul 21, 2019 Manchester, NH -- Aug 1, 2019 to Aug 4, 2019 Portland, ME -- Aug 7, 2019 to Aug 11, 2019 Moncton, NB -- Aug 14, 2019 to Aug 18, 2019 Saint John, NB -- Aug 21, 2019 to Aug 25, 2019 Halifax, NS -- Aug 28, 2019 to Sep 1, 2019 CORTEO: Worchester, MA -- Jan 3, 2019 to Jan 6, 2019 Detroit, MI -- Jan 10, 2019 to Jan 13, 2019 Pittsburgh, PA -- Jan 16, 2019 to Jan 19, 2019 Evansville, IN -- Jan 23, 2019 to Jan 27, 2019 Memphis, TN -- Jan 31, 2019 to Feb 3, 2019 Raleigh, NC -- Feb 7, 2019 to Feb 10, 2019 Bossier City, LA -- Feb 14, 2019 to Feb 17, 2019 Cedar Park, TX -- Feb 20, 2019 to Feb 24, 2019 Portland, OR -- Mar 14, 2019 to Mar 17, 2019 Reno, NV -- Mar 21, 2019 to Mar 24, 2019 Inglewood, CA -- Mar 27, 2019 to Mar 31, 2019 Tucson, AZ -- Apr 3, 2019 to Apr 7, 2019 Rio Rancho, NM -- Apr 11, 2019 to Apr 14, 2019 Topeka, KS -- Apr 18, 2019 to Apr 21, 2019 St. Louis, MO -- Apr 24, 2019 to Apr 28, 2019 Cedar Rapids, IA -- May 1, 2019 to May 5, 2019 Dayton, OH -- May 8, 2019 to May 12, 2019 Windsor, ON -- May 15, 2019 to May 19, 2019 Hamilton, ON -- May 22, 2019 to May 26, 2019 London, ON -- Jun 13, 2019 to Jun 16, 2019 Boston, MA -- Jun 19, 2019 to Jun 30, 2019 Baltimore, MD -- Jul 3, 2019 to Jul 7, 2019 Turin, IT -- Sep 26, 2019 to Sep 29, 2019 Bologna, IT -- Oct 10, 2019 to Oct 13, 2019 Pesario, IT -- Oct 17, 2019 to Oct 20, 2019 Leipzig, DE -- Oct 23, 2019 to Oct 27, 2019 Frankfurt, DE -- Oct 30, 2019 to Nov 3, 2019 Nuremberg, DE -- Nov 6, 2019 to Nov 10, 2019 Graz, AT -- Nov 13, 2019 to Nov 17, 2019 Stuttgart, DE -- Dec 18, 2019 to Dec 22, 2019 Mannheim, DE -- Dec 25, 2019 to Dec 29, 2019 Granada, ES -- Jan 15, 2020 to Jan 19, 2020 Zargoza, ES -- Jan 22, 2020 to Jan 26, 2020 Vitoria-Gasteiz, ES -- Jan 29, 2020 to Feb 2, 2020 Santiago de Compostela, ES -- Feb 5, 2020 to Feb 9, 2020 Seville, ES -- Feb 12, 2020 to Feb 16, 2020 --------------------------------- 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 *) Single Show Dates | 7:00 p.m. Only o) Friday, Feb. 15, 2019 o) Tuesday, Feb. 19, 2019 o) Friday, May 31, 2019 o) Sunday, June 9, 2019 o) Friday, June 14, 2019 o) Sunday, June 23, 2019 *) 2019 Dark Dates: o) January 5 thru 16, 2019 o) February 3, 2019 o) March 13, 2019 o) May 18 thru 22, 2019 o) August 20 thru 21, 2019 o) September 21 thru 25, 2019 "O": Location: Bellagio, Las Vegas (USA) Performs: Wednesday through Sunday, Dark: Monday/Tuesday Two shows Nightly - 7:30pm and 9:30pm *) Single Show Dates | 7:00 pm Only o) Tuesday, Jan 8, 2019 o) Monday, Apr 22, 2019 o) Tuesday, May 21, 2019 o) Tuesday, Jun 25, 2019 o) Tuesday, Nov 5, 2019 *) 2019 Dark Dates: o) 9:30 PM Performance of January 9 o) 9:30 PM Performance of April 18 o) 9:30 PM Performance of May 22 o) 9:30 PM Performance of June 26 o) 9:30 PM Performance of November 7 Zumanity: Location: New York-New York, Las Vegas (USA) Performs: Friday through Tuesday, Dark Wednesday/Thursday Two Shows Nightly - 7:00pm and 9:30pm KÀ: Location: MGM Grand, Las Vegas (USA) Performs: Saturday through Wednesday, Dark Thursday/Friday Two Shows Nightly - 7:00pm and 9:30pm LOVE: Location: Mirage, Las Vegas (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm MICHAEL JACKSON ONE: Location: Mandalay Bay, Las Vegas (USA) Performs: Thursday through Monday - Dark: Tuesday/Wednesday Two Shows Nightly - 7:00pm and 9:30pm 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) PARAMOUR: Stage Theater New Flora Hamburg, Germany Begins April 5th, 2019! One/Two Shows Nightly: o) Monday: Dark o) Tuesday: 6:30pm o) Wednesday: 6:30pm o) Thursday: 8:00pm o) Friday: 8:00pm o) Saturday: 3:30pm & 8:00pm o) Sunday: 2:30pm & 7:00pm ======================================================================= OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS ======================================================================= o) WEBSERIES -- Official Online Featurettes o) VIDEOS -- Official Peeks & Noted Fan Finds --------------------------------------------------- WEBSERIES: Official Online Featurettes --------------------------------------------------- *) GOING FULL CIRQUE A Broadway dancer leaves fame, friends and family behind for the dream of flying as an aerialist with Cirque du Soleil. o) EPISODE 5: Starting to Fly {Dec.05} One week less to train and a surprise visit? Don't miss this emotional episode where Reed Kelly puts his newfound skills to the test. LINK /// https://www.facebook.com/GoingFullCirque/videos/640912276310874/ o) EPISODE 6: Add a Pinch of Emotion {Dec.13} Fly well, have fun! Reed Kelly tries to keep this in mind as he heads into his toughest training week yet on this week's Going Full Cirque. LINK /// https://www.facebook.com/GoingFullCirque/videos/523002191516355/ *) THE POWER WITHIN In this exclusive YouTube series in which we partnered up with Panasonic Batteries, each episode conceptually makes parallels with Cirque du Soleil shows, acts and artists from Corteo and LUZIA and to the attributes of Panasonic Batteries: Power and Reliability, Endurance, Sustainable Lifestyle, Longevity, and Energy. o) EPISODE 2: "Sustainable Lifestyle with LUZIA" {Dec.07} How does Cirque du Soleil maximize the longevity of each artist's careers? LINK /// https://youtu.be/8uC_G7SZXos o) EPISODE 3: "Longevity with Corteo" {Dec.14} How does Cirque du Soleil maximize the longevity of each artist’s careers? Discover more through Corteo’s Teeter board and Rou Cyr artist in this episode of Power Within. LINK /// https://youtu.be/8JnkRbk_k-Q o) EPISODE 4: "Endurance with Luzia" {Dec.21} Artists need endurance to ensure they can perform to the best of their ability to maintain their energy throughout their act. How do they do it? LUZIA’s Solo Contortionist, Aleksei Goloborodko, explains his routine in this episode. LINK /// https://youtu.be/IAQUOPsL1qE o) EPISODE 5: "Energy with Corteo" {Dec.28} Acrobats of #Corteo describe the transfer of energy between themselves, the audience, and their act. Discover more in episode 5 of Power Within with Panasonic. LINK /// https://youtu.be/KOSFmglU2do *) IMMERCIRQUE Welcome to IMMERCIRQUE, our VR180 YouTube series where we take you on an immersive journey with our Cirque du Soleil artists as they prepare to perform for their act o) EPISODE 2: "VOLTA Hair Suspension in VR180" {Dec.03} Follow VOLTA Hair Hanging Artist, Danila Bim, backstage in training, makeup, costume, and then in a final exclusive performance just for you! LINK /// https://youtu.be/Jjsd-6O9GD0 o) EPISODE 3: "Zumanity Hoops Contortion Act" {Dec.20} In this VR180 video, follow Zumanity Hoops Artist, Elena Lev, backstage in training, makeup, costume, and then in a final exclusive performance just for you! LINK /// https://youtu.be/9t2SCT68NJ8 *) WE ARE VOLTA o) EPISODE 3: "Joining Cirque" {Dec.03} LINK /// https://www.facebook.com/VOLTA/videos/355252758370843/ o) EPISODE 4: "Food and Fitness" {Dec.17} LINK /// https://www.facebook.com/VOLTA/videos/1012141895638148/ *) MUSIC VIDEO w/LYRICS o) VOLTA - "Dancing Ants" {Dec.11} Hakystubi eyena mexmico Hakystubi eyena mexmeday Isayni meh eyena mexmikay Suromose inema mex me say Habst to be a home Habst to be kiya hey Habst to bap may Habst to be ya go Cus to Riya home Cus to riya baski may Ah... I feel I feel I'm livin a navosome Ah... I fell I feel I'm livin on Hakystubi on a hanesnay Chuko sto me yamily Fakestumi rahani ganesne Wo-oh-ho Habst To be yan hamilay Habst To be a home Chiusto mia bay Habst To be a ho-o-ome Sum sum chukay Habst To be a high Habst To be a hop chukay Habst To be a hop chukay Ah... I feel I feel I'm livin a navosome Ah... I fell I feel I'm livin on Ah... I feel I feel I'm livin a navosome Ah... I fell I feel I'm livin on Hey... Hama chuload Hama chuload Hama chuload LINK /// https://youtu.be/XppnWMQrA4M o) CORTEO - "Volo Volando" {Dec.18} Forse allora mi ricorderai Un sorriso sulla faccia mia Ubriaco di nostalgia S'alzerà nel vento polvere Poi sarò Vicino a te Poi sarò Un ricordo per te Hanno detto che ricorderai Ogni gesto la bella follia Impazzito di nostalgia Saprò come farti ridere Poi sarò Un ricordo per te Dimmi allora ti ricorderai Quella gioia e quella pazzia Canteremo con nostalgia Tutto il nostro resistere Poi sarò Un ricordo per te Volo, volovolando Volo e volerò Volo, volovolando Volo e volerò Forse allora mi ricorderai Ogni vacio le carezze mie Scoprirai la nostalgia Poi sarò Un ricordo per te Forse allora mi ricorderai Un sorriso sulla faccia mia S'alzerà nel vento polvere Poi sarò, vicino a te Poi sarò Un ricordo per te LINK /// https://youtu.be/ds7ETyJqFzE --------------------------------------------------- VIDEOS: Official Peeks & Noted Fan Finds --------------------------------------------------- o) World Premiere of BAZZAR, Mumbai Red Carpet LINK /// https://youtu.be/u1sW5NZURDY o) Celebrate Mystère's 25th Anniversary, which NEW Changes LINK /// https://youtu.be/2JXjyVZjZg8 o) Jump Into Circus Challenges with YouTuber Jaclyn Forbes LINK /// https://youtu.be/4x0Jgcjv--k o) Happy New Year Countown with Cirque du Soleil LINK /// https://youtu.be/w9LtOtghXYs o) This is How You CirqueWay LINK /// https://youtu.be/e2cEhjs5yJo o) Teaser for CIRQUE IT OUT Season 2 LINK /// https://youtu.be/1m9tLq58iV4 o) Official Trailer TAKE YOUR PLACE, Cirque Casting LINK /// https://youtu.be/qkLkZwlb0uw o) Get to Know the Mystère Duo Strap Artists LINK /// https://youtu.be/iL9nhtFE5a0 o) Mysère Music: Rondo LINK /// https://youtu.be/1u6WGkdSCrY o) CRYSTAL: Meet Cornelius, an artist in the Hand-to-Trapeze act LINK /// https://www.facebook.com/CrystalbyCirqueduSoleil/videos/1945114965566547/ o) TORUK: 5@% w/Markus Schabbing (Puppeteer) LINK /// https://www.facebook.com/torukthefirstflight/videos/497506737412869/ o) JOYA: See what happens in our wardrobe department everyday! LINK /// https://www.facebook.com/JOYA/videos/2229240707404833/ o) KÀ: Guitarist | A masterpiece that doesn't miss a beat. LINK /// https://www.facebook.com/KA/videos/512524465819847/ o) KÀ: General of the Court | A costume that leads with imperial inspired pieces. LINK /// https://www.facebook.com/KA/videos/453489848508189/ o) KÀ: Leather Welder | A subtle character that rocks a bold statement. LINK /// https://www.facebook.com/KA/videos/566529707119666/ o) KÀ: Spearmen | The parts that make up the greater whole. LINK /// https://www.facebook.com/KA/videos/196948331202907/ o) MYSTERE: Celebrating some NEW changes in the show LINK /// https://www.facebook.com/Mystere/videos/376842886209971/ o) AMALUNA: Meet the two women who do the "Water Bowl" act LINK /// https://www.facebook.com/Amaluna/videos/267716493913599/ o) KOOZA: Kooza in Korea LINK /// https://www.facebook.com/wkorea/videos/2209585292398253/ o) LUZIA: Travel with Abou; what a view of Mexico City! LINK /// https://www.facebook.com/LUZIAbyCirqueduSoleil/videos/498671553954616/ o) TOTEM: An amazing behind the scenes from Getty Images. LINK /// https://www.facebook.com/Totem/videos/1939217076192560/ ======================================================================= FASCINATION! FEATURES ======================================================================= o) "The Eclectic Lab Makes its Debut in India" Special: BAZZAR in the Presse o) Jean David's Quel Cirque, Part 1 of 12: "The Early Years" A Special Series Celebrating Cirque's 35th Anniversary ------------------------------------------------------------ "The Eclectic Lab Makes its Debut in India" Special: BAZZAR in the Presse ------------------------------------------------------------ Cirque du Soleil's BAZZAR made it's debut in November to great success. Within are a number of articles from the English-language Indian press regarding the show's run. Check them out! "It's Showtime for BAZZAR" Daily News & Analysis India | November 16, 2018 The trapeze bars swing crazily. There is a moment of nervous anticipation just before Shannon Gelinas takes a leap of faith — literally — and Evelyne Paquin-Lanthier, perched on the lower bar, catches her arms in the nick of time. I hear a collective sigh of relief from the audience, only to realise I was one of them. The Canadian performers are part of Cirque du Soleil’s Bazzar. It is the 43rd original production of the live entertainment company, a truly magnificent show that brings together music, dance and acrobatics in a one-of-its-kind spectacle. The two-hour immersive experience under the Big Top — a tent that provides a panoramic view of the show unfolding on stage — is nothing short of magical. After performing in over 60 countries in 34 years, Cirque du Soleil made their debut in Mumbai with Bazzar, after which it will head to Delhi and then to the Middle East. ENDLESS POSSIBILITIES Watching the roller skating duo, Mathieu Philippe-Lanthier and Myriam Lessard, perform some amazing stunts on stage or Jean-Francois Robitaille playing with fire which has us on the edge on our seats, makes us realise the possibilities that the human body is capable of. And at the end of the day, it is the element of danger that makes each act go up a notch higher. When we question the trapeze artistes about the last drop at the end of their act, Shannon laughs and says, “It’s a part of the act. If there was no danger, I don’t think it would be exciting to watch.” Recalling an incident when they were performing an act, Shannon says that once a zipper on the back of her dress caught Evelyne on her forehead, resulting in a cut. “We didn’t notice it, but the audience did, so it was actually funny,” she says. EMOTIONAL JOURNEY With the initial few shows getting a great response, show director Susan Gadreau is happy that the audience is coming out of the tent all happy, having connected with the characters and the performances. “Since we were branching into new markets, it was important for us to show what the DNA of Cirque du Soleil was and to share it with them. The story of the maestro and the troupe of eclectic artistes was inspired by the origins of the company, when there was just a group of street performers. The idea was to take the roots of Cirque and weave it in a storyline, and that’s where the idea of the maestro and the troupe came from. They are creating in front of you,” she adds. * * * * * * "Cirque du Soleil: A Bazzar Spectacle" Man's World India It’s an eclectic lab of infinite creativity where a joyful troupe of acrobats, dancers and musicians band together to invent a whimsical one-of-a-kind universe. Those familiar with the name know the sheer quality and magnitude of the acts they bring on stage. Ahead of their Indian debut, Finn Taylor, Senior Vice-President – Touring show Division, Cirque du Soleil and Albert Almeida, COO-Non Movies, BookMyShow talk about their plans for the magnum opus premiere of BAZZAR. Q. Why did Cirque du Soleil choose India to be the next destination for its 43rd production? While we have been entertaining millions of people for over 30 years in more than 60 countries, Cirque du Soleil has been looking at India as a potential market for quite a while now. We wanted to do things right and introduce the brand appropriately to this new audience that was never exposed to Cirque du Soleil before. That’s why we created BAZZAR. With its creative concept, BAZZAR offers Cirque du Soleil new possibilities to introduce our brand and enables us to continue our international growth in markets that offer great potential such as India and opens the door to exploring the African continent. Q. Tell us about Cirque du Soleil’s partnership with BookMyShow for the event. Cirque du Soleil is the sole producer of BAZZAR, its 43rd production but we work with local partners and a local promoter, like BookMyShow, to help us better understand Indian ways and culture, and to bring the Indian population to get to know us better. With BookMyShow’s deep knowledge and understanding of the entertainment industry in India, we are confident that they will permit BAZZAR, a show that introduces the essence of what Cirque du Soleil is, to be successful. Q. What are the different kinds of acts that will be a part of the show? BAZZAR introduces the essence of what Cirque du Soleil is: stunning human performances, state-of-theart costumes, captivating live music and astonishing staging which results in a complete and powerful theatrical experience. It features “Classic” acrobatic disciplines like teeterboard, portage, acrobatic bike, contortion, duo roller skate, duo trapeze, aerial rope, and slackline. Bright, colourful and original costumes, live music, impressive scenography in a Big Top setting are all part of the acts. Q. What goes into the making of a show of this scale and nature? The Big Top that BAZZAR will tour in can seat more than 1,500 people and stands at 19 metres (62 feet) high and is 41 metres (135 feet) in diameter. BAZZAR’s tour also travels via 25 sea containers carrying close to 700 tons of equipment. A cast and crew of 62 people will be travelling to India and working in Mumbai and Delhi to perform and present BAZZAR. In Mumbai, the shows will be held at the MMRDA grounds, where as in Delhi the Big Top will find its home in Aerocity, close to the Delhi domestic and international airports. The locations are centrally located, allowing people to conveniently reach the venue. Q. Since Indians aren’t avid watchers of circus acts in today’s times, how do you plan on tapping the right audience? India has a great thirst for entertainment with its thriving film industry and its long-standing tradition of circus. Cirque du Soleil started more than 30 years ago and reinvented circus arts and created a new form of entertainment centred on human performance, without animals. We believe Indian families, couples, teenagers and kids are more than ready to rediscover the circus art in a way they’ve never seen before. Q. Is there a long-term partnership in place to bring in more acts in the future? Absolutely, there is a multiyear agreement between BookMyShow and Cirque du Soleil which is aimed at establishing India as a key market to open avenues for global entertainment. With Delhi and Mumbai, we are excited to take the cities tally to 452 and hope to take it to many new cities in the coming years. Together with Cirque Du Soleil we would also like to ensure we add a lot of Indian talent to their ever- growing pool of global and multicultural artists. Q. What’s your take on the pricing of the tickets, considering it’s on a higher end compared to other musicals in the country? The price for Cirque du Soleil BAZZAR starts at just Rs.1250, with the premium range of hospitality tickets at the other end of the spectrum. Our ability to price the show appropriately for different segments has ensured we make the pricing accessible and a super value for money proposition for this top quality international entertainment! Our shows take traditional circus arts to a whole new level, mixing state- of-the-art costumes, captivating music and astonishing staging which results in a complete and powerful theatrical experience. BAZZAR features an international cast of 31 performers and musicians that come from 13 different countries, two of whom are Indian. * * * * * * "Cirque du Soleil debuts new show 'Bazzar' in India" The National | November 18, 2018 India’s affair with the circus, its love, and later, disdain for it, took root in December 1879. Giuseppe Chiarini, from Italy, had brought the Royal Italian Circus to ­Mumbai, camping out at Maidan near what is now Mumbai’s Victoria Terminus. Chiarini cast a spell on his audience, who were fascinated by how the animals pranced about and performed unimaginable stunts. Over the decades that followed, Europe’s numerous travelling circuses stopped over in India, regaling ­thousands with astonishing feats and mind-boggling acts. India decidedly fell in love with the circus, spawning its own industry that thrived until about the early 1990s. From 300-odd native troupes then, the number has dropped to around 30 today. No wonder Rajesh Mudki is over the moon as Cirque du Soleil hits Indian shores for the first time. “I believe India is more than ready to rediscover circus art,” he says. Mudki is one of the 30 performers and musicians along with fellow mallakhamb (the Indian sport of aerial yoga and gymnastics that revolves around a pole or khamba) artist Kalpesh Jadhav. They are the only Indians who will take their place under Cirque du Soleil’s iconic Big Top in Mumbai and New Delhi this winter for Bazzar, which premiered on Thursday at Bandra’s MMRDA Grounds. This is the Canadian company’s first foray into India and a rare occasion because Cirque almost never debuts a new show outside of Montreal, its home turf. But making history calls for new strides and India can’t wait. “Cirque du Soleil is nothing like the Indian population has seen before, but I’m ­confident we will give it a warm welcome,” says Mudki. “India has a great thirst for ­entertainment with its thriving film industry and long-­standing tradition of circus. I believe Cirque du Soleil is complementary to Bollywood movies – it is so creative and advanced that Indian audiences already have an open mind to art and creativity.” Mudki is an accomplished practitioner – he trained for 25 years at the Sane Guruji Fitness School of Mumbai, in mallakhamb, yoga, aerial rope, gymnastics and acrobatics. He has also been part of the Terence Lewis Contemporary Dance Company. To perform with Cirque is the next- level dream he has been nurturing since 2006, when he watched them for the first time. “My eyes popped out,” he says. “So, as a mallakhamb artist born and raised in Mumbai, having the world premiere here and touring in India is exalting.” Apart from performing, Mudki also co-founded the mallakhamb India team in 2006 to increase awareness about the sport in India and abroad. He travels regularly with his team to perform for international companies and organisations, and also does television shows. “I’m deeply involved in my discipline and its future.” Bazzar’s incorporation of a native act demonstrates its seriousness in tapping the ­Indian market. The shows, which will run daily, apart from specific days in between and already nearly sold out; to give you a brief idea, that’s close to 1,500 viewers per show, over a period of about seven weeks. This hype has boosted Cirque’s ­confidence in its growth and popularity in India. “We offer a highly emotional and compelling form of ­entertainment,” says show director Susan Gaudreau, who choreographed Kurios by Cirque du Soleil. “Our shows take the traditional circus arts to a whole new level, mixing state-of-the-art ­costumes, ­captivating music and ­impressive staging, which give a complete and impressive theatrical experience. Bazzar is a show created to introduce the brand to audiences who are not familiar with us. It features classic acrobatic disciplines, plus, we offer the Indian audience the chance to live the genuine little Big Top experience.” Apart from acts featuring teeterboard, portage, acrobatic bikes, contortions, duo roller skating, duo trapeze, aerial rope and slackline, audiences will also enjoy fire-breathing and stilt-walking – a nod to the origins of the company as well as traditional circus themes. Vibrant colours, exhilarating music and evoking the madness and beauty of a classic bazaar are scattered throughout the teaser. * * * * * * "An intimate circus" The Hindu | November 20, 2018 The canvas of Cirque du Soleil’s Bazzar is limited in scale but the acts are thrilling and technically impressive A giant white tent seen from a distance, as you approach Bandra Kurla Complex’s MMRDA grounds, provides for an instant throwback to travelling circuses that stopped by the suburbs of Mumbai for a few weeks. As a child, the grandiosity rested in the sheer scale of the set-up, where everything seemed larger than life – quite literally. Cirque du Soleil, which prides on evoking similar emotions in you as an adult, opts for an intimate offering with Bazzar, the Canadian troupe’s first production to premiere outside Canada, where the canvas provided to the performers is limited in scale but the acts are thrilling and technically impressive. The show is held together by a goofy maestro who provides for silly humour between various physical feats, involving bikes, fire, rope, trapeze and a pole. The centre stage is often provided to one or two performers who showcase their skill without any peripheral distractions, leaving you in awe of their talent and rigour that goes in the making. The finale is more of a smorgasbord of acrobats, dancers and musicians, where you pick what your eyes want to focus on, as the performers battle for space and attention. Bazzar is a captivating and neatly executed show but it neither challenges the boundaries of traditional circuses nor is it a homage to the old- school-ness of it. The uniqueness – the Indian aspect of Bazzar – is limited to its inclusion of Mallakhamba and a seemingly spontaneous “chicken tikka masala” in the maestro’s script. The two men performing mallakhamba put up a captivating show, evoking both pride and curiosity to know more about the traditional sport for the uninitiated. The show otherwise is oddly lacking in flavour. Although there’s a fractured narrative, including a trapped girl in a transparent box and live singing, the show doesn’t come together as a whole, largely because the spotlight is solely on the physical feats, often rightfully so. But Bazzar’s limited ambition can be a double-edged sword: it could either ignite curiosity to see a grander production abroad or make you dismiss it completely. As for the pricing, be prepared to pay more for a good view and a better experience as the tickets cost between R1,250 to 12,000 but the performers often orient themselves towards one side of the audience (the expensive seats). With a few new shows added, Bazzar will run in Mumbai until December 9 before making its way to Delhi. At a special preview before the Mumbai première, children made up for a considerable portion of the auditorium. Their excitement and enthusiasm, as evident in their loud laughter and cheers, is a good indication of where the appeal of the show lies: it’s good child-like fun. * * * * * * "The Circus is Back" Lifestyle Asia | November 24, 2018 Waking up to drama isn’t new for us but when it comes with a side of glamour, we’re intrigued. This is what got us to watch the new Cirque du Soleil show. It helped that this 43rd production, Bazzar, was debuting internationally in Mumbai, after its premiere in its hometown Montreal, where the first showcase of all Cirque du Soleil shows happen. Obviously, expectations were high and opinions flying everywhere on how imaginative it would be. The show was brought down to India by the same people from BookMyShow, who recently produced Disney’s desi adaptation of the Broadway show, Aladdin, which ran to packed houses. The brainchild of writer-director Susan Gaudreau, the show is an ode to the Indian marketplace. A large canvas of curated acts, this ambitious, theatrical production is just like how Cirque du Soleil co- founders Guy Laliberté and Gilles Ste-Croix envisioned it in 1984. But with a few tiny changes to suit the palate of the Indian consumer. The show opened with a protagonist who got the attention of the audience right away with his compelling, curiosity-laden and extremely intimate act. He wove a story about a crown of lights as his ultimate goal, as specific acts followed. The crown is repeatedly stolen from him by artists and the premise is his search for it. The storyline is that simple – but the way it’s told had the audience enthralled. The best acts of course, were the obvious ones – the trapeze artists and the acrobats with choreographed dance sequences, which made the kids squeal with joy. The fire performer had us in splits while the hoola hoop girl made the ride a fun one. There was even a segment with an audience member that got us all grooving to the beats alongside a trapeze act by two girls that made one marvel at how these performers train. But for an onlooker, it was the Mallakhamb act, where a gymnast performs aerial yoga postures, that was a highlight. Rajesh Mudki, a Mallakhamb champion from Santacruz, showcased great work, something most people had never seen before. The performances are what you’d expect but we can’t help but wonder how it would be if you had a bigger smorgasbord to work with. The trapeze artists and the fire performances could have been more nuanced and dangerous. But that’s debatable. The music was enthralling, though the acts, condensed – Cirque du Soleil shows have a grander vision than what was showcased here. However, the fact that they could create the pure joy of viewing a circus performance once again into this digitally-addicted world is an achievement in itself. The applause also goes to set designer Simon Guilbault who worked closely with engineers to create a structure that was sturdy and dramatic enough for performers and audiences alike. We liked how the space looked colour-coded and characterised to fit the story – it was visually stunning. The outfits were another highlight – bright wigs, leather and pleather garments that gave an air of sophistication and state-of-the-art designs to seal the deal. And it all took place inside the legendary 62 feet tall and 135 feet wide tent that seats 1,500. The Montreal and Vegas shows, we’ve heard, have more variety and more death-defying stunts. But for now, this is perfect for a market like India where circus needs a reinvention. It’s a great opportunity to see another world, explore and understand small joys and for that, we’re grateful. * * * * * * "Cirque du Soleil BAZZAR" Platform Magazine Cirque du Soleil BAZZAR is an eclectic lab of infinite creativity where a joyful troupe of acrobats, dancers and musicians craft an awe- inspiring spectacle. Lead by their maestro, they band together to invent a whimsical one-of-a-kind universe. In a place where the unexpected is expected, the colourful group reimagines, rebuilds and reinvents vibrant scenes in an artistic, acrobatic game of order and disorder. The high-energy excitement, collision of sounds and colours, and meeting place of diverse characters you’d find at a traditional ‘bazaar’, inspired the name of the show. As a word, BAZZAR is also read almost the same frontwards and backwards. But just when you reach the end of the word, it’s not. Like the performance, just when you think you know where the story is going— there’s a twist! Throughout her 30-year career in the performing arts, Susan Gaudreau, the show director has taken on numerous roles behind the scenes in the circus, special events, film, television, and dance industry, including 20 years as a dancer and choreographer in a variety of styles. In 2014, KURIOS – Cabinet of curiosities was her first engagement on a Cirque du Soleil show as choreographer and in 2017, she acted as the director for Cirque du Soleil at Seas productions. BAZZAR is Susan Gaudreau’s second engagement as Director of a Cirque du Soleil touring show. For the first time in Cirque du Soleil history, performers display strength and technical feats in a mesmerizing act of Mallakhamb, a traditional Indian sport in which a gymnast performs aerial yoga postures and wrestling grips in concert with a vertical stationary or hanging wooden pole, cane or hanging rope. The word Mallakhamb refers to the pole used in the sport. Rajesh Mudki, trained for the last 25 years at the Sane Guruji Fitness School of Mumbai, India, in Mallakhamb, Yoga, Aerial Rope, Gymnastics, Acrobatics and has also been part of Terence Lewis Contemporary Dance Company in aerials, as well as co-choreography. Throughout his career, Rajesh appeared in multiples commercials as model and aerial performer and is now part of Cirque du Soleil BAZZAR in a Mallakhamb act. Along with the Mallakhamb act, fire-breathing and stilt walking—are intentionally scattered throughout the show. Born and raised in Quebec, Canada, Jeff-Francois Robitaille started martial arts at age 3 with his dad. Since entering the entertainment industry at the age of 20, Jeff has worked as a martial artist, dancer, acrobat, actor, fire dancer, aerialist, interviewer and stuntman. Throughout his career, he has won four world championship titles in acrobatic martial arts and is now performing a fire manipulation act in Cirque du Soleil BAZZAR. He is also part of a back-up number in a cube manipulation act. BAZZAR features the following acrobatic disciplines: teeterboard, portage, acrobatic bike, contortion, duo roller skate, duo trapeze, aerial rope, and slackline. Shannon Gelinas, completed her training in 2012 as a specialist in Aerial Fabric and Trapeze Duet at the National Circus School of Montreal. She worked with renowned companies both in Quebec and abroad and also took part in various projects with "Cirque Éloize" and "Cirque du Soleil”. Over the years, she has accumulated many awards and honors and is now part of Cirque du Soleil BAZZAR in a duo trapeze act with her partner Evelyn Paquin- Lanthier. The show features an international cast of 30 performers and musicians, and will be supported by 16 members of the technical team. There is a mix of pre-recorded and live music with one singer and two musicians on stage. * * * * * * "Head to Cirque du Soleil to witness gravity-defying stunts, performance" Mid-Day | November 25, 2018 When was the last time you smiled so much, your face hurt? We didn't stop smiling for two days straight after watching the Cirque du Soleil Bazzar last weekend. We'd been waiting to catch the show for months, ever since we heard that the world-famous Canadian circus troupe was going to make its debut in India. This is also the world premiere of Cirque du Soleil's latest production, Bazzar, which follows the adventures of a theatre troupe. But the ticket prices gave us pause. Starting from R2,500 and going all the way up to Rs 12,500, the passes are quite expensive, no lie. Was it worth it, though? Every. Single. Rupee. There's something for everyone: comedy, breathtaking acrobatics, and even some Step Up-style dancing, all set to the tunes of a live band and vocalist just bursting with energy. While it's safe for kids to enjoy, grown-ups too will get lost in the wonder and magic. Queue management was smooth, and we were quickly ushered into the air-conditioned tents — the first tent housed the bar, confectionary and washrooms. The show took off with a bang, with a roller-skating act, performers soaring on the trapeze, or bouncing off the teeterboard. There was a distinct moment of pride as the Maharastrian sport, Mallakhamb, took centrestage. This is the first time the Cirque has featured this Indian sport, which involves a mix of intricate wrestling and aerial yoga poses performed on a pole. Our R3,000 seats, though towards the back, allowed us views thanks to the circular design of the stage. One word of caution: don't pick seats diagonally facing the stage; that's where the stage trusses are installed. Pick seats that are either in front of the stage or on the sides, and you'll be fine. How does this compare to the mega productions Cirque puts on in Canada and the US? Friends who have seen the shows there said it is a smaller production, with the limitations of a travelling troupe, but still one of the best shows Mumbai has witnessed this year. As tickets were selling out, the troupe has extended their show dates in Mumbai, so there's a good chance you can find tickets. Maybe you'll even spot us in the audience, back for another dose of happiness. * * * * * * "Unbreakable Spirit" The Pioneer | December 1, 2018 India has always been a hub of sports and has harboured a well- entrenched tradition of indigenuous games — gilli-danda, kho-kho, teen-patti, kanche, kabaddi, mallakhamb, pahalwani or even shatranj. A believer and practitioner of this is Rajesh Mudki, a mallakhamb artist from Santa Cruz, who was introduced to the traditional Indian sport at a tender age of six. This is a sport in which a gymnast performs yoga aerially by keeping a grip on a vertical stationary or hanging wooden pole, cane, or hanging rope. The artist is now all set to deliver a power-packed performance with other international artists in the Canadian company Cirque Du Soleil’s current production Bazzar, debuting in India. If you ask Rajesh about what it takes to be a mallakhamb artist and prepare for it, he will tell you that all it takes is a sportsman spirit that an artist should never leave as well as a lot of “concentration that would only help one to analyse and plan out things for the future.” He adds, “It’s after many years of practice, many bone-breaking experiences and body aches that you reach a certain level of expertise.” The artist has also showcased his talent at the reality show India’s Got Talent, grabbing eyeballs and gaining applause. He believes that such shows provide a huge platform to aspiring artists. “It’s not only a tool to showcase your talent and reach out to masses, but also a stage to boost your confidence. I never thought about sports seriously. But soon I realised that it is something that can help reach a large audience,” says Rajesh. Indeed, art connects you to a larger part of the society domestically and also globally. He feels that in 27 years of his practice, countless tournaments and championships, there was only one thing that was lacking — “taking mallakhamb outside the country.” It was only after he relieved his highest award, Shiv Chhatrapati Award, that he decided to take the sport to global frontiers. “My team and I started thinking about what and how we take it forward. We started a website to create awareness about the sport through it,” he says. However, success still didn’t knock at his doors as there were no responses. He didn’t hear from anybody for a year and then they finally started getting some queries. “We then started teaching them through online classes and people began inviting us to their countries and cultural programs.” Since the act doesn’t involve any traditional musical elements, Rajesh stringed his performance to a few beats to give it an entertaining touch when he performed it at the reality TV show. Talking about how he joined Cirque’s Bazzar, he tells us that the company first contacted Rajesh during December 2017. “I had applied there but never received a response until last year. They told me that they wanted me to join their team of acrobats and gymnasts. That is how all the talks and experiences began,” says he, adding, “It was surreal. I have always followed Cirque. I saw it as a great opportunity to bring alive my dream of making the sport international.” He believes that with time, the prominence and popularity of the act has surely “increased.” When he began, not many people knew about it or attempted to learn it. Now that it is being performed and viewed by so many people, “there has been a lot of dialogue around it. We started with theatrical performances and championships, I am sure people noticed. That is a great development.” He says that while practising for Cirque, there have been both tears and smiles, “We have cried and laughed. We have had broken bones, but hardly did we let our spirits break down. No matter how difficult the elements were, we kept calm and smiled to entertain the audience.” The artist has an indomitable spirit that says that the show must go on! * * * * * * "What Comes Before a Tough Act of a Cirque du Soleil Performance" Mid-Day | December 2, 2018 The highs of a Cirque du Soleil performance are just a glimpse of the endless hours of preparation, and careful mental and physical discipline that its performers endure. What comes before a tough act of a Cirque du Soleil performance Standing in the VIP lounge, one of the publicists for the organisers of Cirque du Soleil's Bazzar, says, "Often when we see the artistes stretching in the tent, we say 'The most we stretch is in our own beds on Sunday morning'." The ones in the lounge with the corporate jobs — where sitting hunched over backlit computers can only be offset by ergonomically designed chairs, screens that are placed at eye level and a constant effort to ensure that the mouse doesn't lead to carpal tunnel — laugh. But, Cirque, the Canadian touring production, has, since it arrived in Mumbai in November, introduced us to "the possibilities of the human body". Been there yet? If you have, you'll remember the roller-skating act in which Mathieu Cloutier, 32, and Myriam Lessard, 30, spin on the stage. At one point, Lessard is hanging by a band that's supporting her neck even as she spins in the air with Cloutier turning on the wheels of the skates. Cloutier responds to a barely concealed admiration for the feat with a matter-of-fact "just like you went and studied for your job at a school, we trained for ours." The Canadian was once an ice hockey player, who accompanied a friend as a 20-year-old to an audition for a role at the circus. The friend who was vying for the role didn't get the job, but Cloutier landed with a new career. It's at the school, in fact, that he first met his now wife Lessard. Friends for the most part, the two, we are told, started dating only four years ago. The couple, in fact — previously acrobats and trapeze artistes — came up with the roller skating act so that they could travel together. And while they have the act in their pocket, it still takes daily conditioning — 1.5 hours for Lessard and 45 minutes for Cloutier — before the show. "It's not just to heal the body, but to also prevent injuries," says Lessard, who grew up in Quebec. Importantly, she adds, she also prevents injuries for the partner. "If I get injured, he can't perform either," she says, giving a whole new perspective to their partnership. Take, for instance, the Russian cousins Aleksandr Likin, 33, and Philipp Kuznetcov, 29. Kuznetcov is a man of few words and Likin, who first introduced himself as Sasha, does most of the talking because Kuznetcov's English isn't very good. But, their act crosses language barriers. Called the Icarian Games, it is a gravity-defying routine that involves two performers juggling the other two in the air like balls. It's something that Likin and Kuznetcov have been practicing as kids. Likin says his is a circus family. His father is also a performer and Likin went onstage for the first time when he was nine. Kuznetcov was 10 when he made his debut. And while the job is their life — it's taken them to almost everywhere, aside from Australia and New Zealand — it also requires sacrifice. For starters, Kuznetcov can't eat anything he wants. "If I put on weight," says the man who does the mid-air jumps, landing on Likin's feet, "his knees will get injured." And if you thought watching the diet should be easy (balance a dessert with a salad) the two men can't indulge in their favourite sport either. "We can't run a lot because it will hurt the knees, and we can't play football," says Likin. Kuznetcov, who needs to protect his back, has to hold back from cycling, long hours of which can hurt. And where the body needs to be active, can the mind be far behind? Cloutier talks of keeping the mind active between shows. "After a show, the adrenalin is high and then there's a slump, but to keep it high for the next one hour, we need to stay active," he adds. So, in this break, the duo tries new acrobatic skills. For Melodie Lamoureux, a hula hoop performer, yoga is her go-to workout. A trained gymnast and ballet dancer, Lamoureux turned to the hoop only five years ago. The former trapeze artiste says, her act requires manipulation. "But, I can't be nervous or very excited. I have to manage that, else the hoop will fall out of the hand and go into the audience," she laughs. Yoga has helped her stay centred. At the artistes' tent at BKC's MMRDA Grounds where Cirque holds fort till December 9, she adds, there is gym equipment and a coach regularly conducts pilates sessions to help the performers stay in shape. It does sound glamorous. But there's an emotional tax to travelling around the world through the year — family and friends are back home. Cloutier and Lessard admit they at least have each other while on the road. During the break between the Mumbai and Delhi performances, they fly to Austria, in search of both friends and winter — it's 33ºC even in the shade here and 1ºC back home, remark the two (but Lessard we hear isn't troubled as much by the Mumbai's faux winter as Cloutier is). Likin, however, will travel back home, where he will finally get to meet his month-and-a-half old daughter. "My wife was part of the show but had to take a break after she got pregnant." Kuznetcov, hopes one day he and his wife, can be on the road together. * * * * * * "Flip, spin, twist and drop" The New Indian Express | December 26, 2018 The show with its 30 performers, each lending their agile deftness, executed each acrobatic stunt flawlessly. How many times in your life will you gasp for air looking at something so spellbinding that it makes you lose the semblance of every sense? How many things will make you sit on the edge of your seat with anticipation akin to first romance? When will you look at something and be rendered speechless? All this happens in the middle of a flip here and a spin there, a twist here and a drop there. One handspring followed by a somersault, one cartwheel leading to a scissor leap... they go on and on in a breathless cycle of world-class acrobatics. This is the grand state-of-the-art Cirque Du Soleil BAZZAR, for you ladies and gentlemen. Touring India for the first time, Cirque du Soleil is a Canadian entertainment company celebrated for being the largest theatrical producer in the world. In its new production, which premiered on December 24, it creates a merry marketplace of music, dance and antics galore to tie themselves in a collision of bespoke entertainment. The story is led by a maestro who tries to hilariously but rather ineffectively lead his troop. Constantly annoying him is a beautiful, free-spirited woman, who is called the floating woman, who thrives on freedom but is always at loggerheads with the maestro. At a housefull make-shift amphitheatre, the first show in Delhi saw IAS officer and CEO Niti Ayog Amitabh Kant, BJP MP and Former BCCI Chief Anurag Thakur, fashion designers Shivan and Narresh, Gaurav Gupta, Rahul and Rohit Gandhi, along with dignitaries from the New Zealand and Canadian High Commission. The show with its 30 performers, each lending their agile deftness, executed each acrobatic stunt flawlessly. Whether it was the brilliant artiste on the trapeze, or the roller skating duo, the fearless fire stuntmen or the skillful contortionist, they all stood out with their specialities. The cyclist outdid himself too. Adding an Indian element to the narrative was the traditional Mallakhamb performed with two gymnasts who twirled around a wooden pole anti-gravity with great dexterity.A large part of GMR Aerocity ground has been converted into a larger-than-life circus arena. Within it is The Big Top, with a seating capacity of more than 1,500, which is the ground zero of all the activity. Cirque Du Soleil BAZZAR comes to the city as large format Broadway- like show that challenges both artistes and audiences to up the ante on the high energy, fast paced and technologically advanced live entertainment front. * * * * * * "Bazzar, Cirque du Soleil's debut show in India, is a testament to what the human body is capable of" First Post | December 27, 2018 Two artists bounce up and down on a see-saw, performing somersaults in the air as they leap up. A man rides a bicycle while facing backward and hands-free, in perfect circles. A couple stands on an elevated platform in roller skates and dances such that the female artist is completely in the air, except for her head, anchored by the male artist. These are three of the many acts that form a part of Canadian entertainment juggernaut Cirque du Soleil's first show in India, Bazzar. And what a fitting debut — the artists redefine what a circus performance can be, while displaying what the human body is physically capable of. As Bazzar has now reached Delhi after a string of shows in Mumbai, here's a look at what viewers can expect to see. Before the performance could begin, the press was given a tour of the area where the artists prepare. There was a space designated for training and working out, and on display were a collection of wigs and an array of costumes in bright colours, embellished with sequins — and a whole lot of spandex. Backstage at the Big Top (the tent where the performance is held) is a complete antithesis of the frenzy on stage; its run like a well-oiled machine. We interacted with two of the trapeze artists from the show, who spoke about the dangerous nature of their act and why there is no room for mistakes on stage. Their act involved one of the artists letting herself drop from a height, only to be caught by the other artist while upside down. You'd imagine that a conversation such as this would prepare the audience for what lies next, but it doesn't quite do so. Easily the most impressive acts are the aforementioned roller skate one, where the couple uses centrifugal force such that the female artist is revolving in the air but securely connected to the male artist; the trapeze one; the one involving the see-saw; and the fire- blower. As a part of the backstage walk-through, we were also given a glimpse of the see-saw act. The gymnasts would, sometimes three at a time, use force and weight to propel each other into the air, while performing somersaults. They would always land on the two ends of the see-saw. What is striking about this act — and consistent across the whole performance — is the effortlessness of the artists. They're always performing with a smile (or other expressions), which makes one wonder just how much practice has gone into each act. We were informed that Cirque often employs Olympians in its troupes, and this is not surprising, considering the sheer amount of energy and strength needed. The characters of Bazzar are all well etched-out with distinct personalities of their own. The Maestro, with his eccentric way of talking and walking, jokes with the audience and acts as comic relief in the show. The 'floating woman', the trickster (played by an acrobat) who steals the Maestro's hat, drives the plot forward by introducing conflict into it. We went into the show expecting the plot to have a definite structure (the show is said to be about a troupe, thus being an homage to Cirque du Soleil itself), but this was missing. Still, the show is enjoyable because of the interactions between the Maestro and the floating woman. What also drives the performance forward is the live music and vocals. The singer's deep voice and the musician's tunes on the electric guitar elevated the tempo of the acts. The Indian element of Bazzar is the Mallakhamb act, which has been choreographed by the director Susan Gaudreau and noted Mallakhamb artist Rajesh Mudki. It's evident that Rajesh and his partner were on par with the rest of Cirque's players, and their act was a display of discipline and strength. However, because it is a more visually sombre act that the rest (no colourful costumes or aerial movements), the viewer may think that it pales in comparison to the rest of the acts. What is worth noting is the seamless way in which Mallakhamb was integrated into the larger performance. Months ago, we were told that the scale of Bazzar is smaller as compared to Cirque's shows in other countries, but this doesn't seem to compromise the kind of experience offered. In the beginning, the viewer can feel almost overwhelmed because of the sheer number of things happening on stage. Over time, the viewer's eye gets used to the sound and action, and the result is a kind of performance that does not allow you to look away or at your phone, even for a second. * * * * * "Touring with Cirque du Soleil's BAZZAR" Deccan Chronicle | December 27, 2018 Under the Big Top, the vibrant and brightly coloured troupe of performers leap, somersault and pull off stunts that defy the rules of science. While they climb, move through and interact with space and structures on the stage, the seeping light creates an effect of shadow, perfecting the impressive scenography. On the first day of Cirque du Soleil’s BAZZAR in the city, the show proved out to be rich in its spectacular grandeur, extravagance, high-end creativity and nail-biting performances. Making its Indian debut last month in Mumbai, the Canadian entertainment company Cirque du Soleil brought to city their 43rd original production BAZZAR on Tuesday. Originated on the streets of Canada, this intimate troupe of street artists has brought amazement to crowds for over 30 years now and BAZZAR is homage to their journey. Describe their production, the show director Susan Gaudreau says, “It is a journey into an eclectic lab of infinite creativity where a joyful troupe of acrobats, dancers and musicians craft an awe- inspiring spectacle.” Although the show might represent a set-up of circus, the BAZZAR is however, in its own way a whimsical universe. Led by a maestro, the artists banded together to reimagine, rebuild and reinvent vibrant scenes in an artistic, acrobatic game of order and disorder. Talking about presenting the unexpected from the expected, Susan says, “BAZZAR is a show created to introduce the brand to audience that are not familiar with us.” The show features classic acrobatic disciplines like teeterboard, portage, acrobatic bike, contortion, duo roller skate, aerial rope and slackline. With performances requiring such strenuous physical activities, the director confirms that almost 60 percent of the artists come from a sports background such as gymnastics, acro-sports, diving, martial arts and synchronised swimming among others. “We also hire professional athletes to work behind the scenes. We also hire professional athletes to work behind the scenes. The cast of BAZZAR is showcasing a full range of different disciplines including Mallakhamb for the first time,” adds the director. In addition to the thrilling performances, the bright, colourful and oddly bizarre costumes adds to the remarkable aesthetics of the carnivalesque circus and are a result of a rather intuitive and organic process, which is not limited to one point in time. As the costume designer James Lavoie says, “BAZZAR presented an invitation to design by instinct; to be inspired by everyday life and to trust my gut. ” He also adds that for the BAZZAR costumes, he found inspiration in the works of contemporary 20th century artists, conceptual architectural clothing, and street style. “I am thrilled to share my costumes’ unicity with the Indian audience,” he gushes. One wonders how difficult it must have been to direct and choreograph a spectacle with such diverse and unique performances that come together to fit the theme. “BAZZAR is my second production as a director of this touring show and it has a special place in my heart,” Susan smiles. She joined Cirque du Soleil in 2005 as an artistic coach and worked on numerous other productions of the company. It was in 2014, when working on KURIOS – Cabinet of curiosities, she had her first engagement on a Cirque du Soleil show as an acrobatic choreographer. However, designing a show specifically to introduce Cirque du Soleil to a totally new audience was not a bed of roses for her. “It comes with a creative challenge. It pushes our creators to find our essence and articulate it in a way that is universally understandable,” says the director. She further adds that the challenge is always the same, revealing, “to create a show that will be nothing like the audience has ever seen before and we have been successful in this matter for more than 30 years.” BAZZAR features an international cast of 30 performers and musicians supported by 16 members of the technical team. While the company has been entertaining millions of people for over 30 years in more than 60 countries, it continues to look for new markets and audiences. The team struggled for four years to enter into the Indian market and took two years to prepare this production. “We have been looking at India as a potential market for quite a while now. We wanted to do things right and introduce the brand appropriately to this new audience that was never exposed to Cirque du Soleil before,” confirms the director. Seems like their long term long-term objectives of establishing a strong and lasting presence in India seems to be coming true as after almost a month long stint in Mumbai, the troupe will be continuing to perform in the capital for ten more days. * * * * * * "I want to take the audience on an emotional journey" Sunday Gardian | January 5, 2019 Susan Gaudreau, director at the Canadian entertainment company Cirque du Soleil, speaks to Priya Singh about the troupe’s India tour and the future of circus as a performing art. Cirque du Soleil is a Canada-based entertainment company known the world over for having reinvented and modernised the traditional form of circus. The troupe has just concluded the Mumbai leg of its debut Indian tour, and is now performing regular shows of a set titled Bazzar at Delhi’s GMR Aerocity, until 20 January 2019. Susan Gaudreau, show director at Cirque du Soleil, speaks to Guardian 20 about, among other things, the new show and the kind of preparation that went into it. Q. Tell us about your new show Bazzar. How much time did you take to prepare the troupe for this show? A. Cirque du Soleil’s Bazzar takes place in an eclectic lab of infinite creativity where a joyful troupe of acrobats, dancers and musicians crafts an awe-inspiring spectacle. Lead by their maestro, they band together to invent a whimsical one-of-a-kind universe. In a place where the unexpected is expected, the colourful group imagines, builds and invents vibrant scenes in an artistic and acrobatic game. We have been planning our entry in India for the past four years, including almost two years for the creation of the show.The artistes had been practicing for several months prior to the premiere of the show [which happened on 11 November 2018]. Q. What sort of response have you been getting from your Indian audiences? A. We are very happy with the response we have received so far from the Indian audiences. We offer a window to a different kind of reality through live entertainment. We believe Cirque du Soleil is complementary to Bollywood movies. The Indian film industry is so creative and advanced that Indian audiences already have an open mind in regard to art and creativity. Q. How crucial is the role of costumes in a show like Bazzar? A. Bright, colourful and original costumes, and make-up are signature to the remarkable aesthetics of Bazzar. Cirque du Soleil’s state-of the-art costumes are part of its DNA and have been a show trademark worldwide. For Bazzar, the visual connection between costume and space is important. Costumes and props needed for the various Cirque du Soleil shows are created in Montreal, in the costume workshops. This workshop, the only one of its kind in North America, employs specialists in shoemaking, textile design, lace-making, wig-making, patternmaking, costume-making and millinery. Q. Which are the most important elements that a director such as yourself has to keep in mind in order to put together a successful show? A. The most important objective for myself as a show director is to take the audience on an emotional journey, from the minute the show begins to after they walk outside the venue. I feel that the artistes onstage are the most important element, because it is through their performance on stage that we are made to feel emotions. They arrive on stage with humility and perform from their hearts out. The music, costumes, lighting, and makeup are there to support the feelings we are trying to convey. Q. What are your views on the circus industry worldwide? Do you think it has been overshadowed by other forms of public entertainment? A. We are no strangers to circus. It has been around for ages, but the industry has been constantly re-inventing the concept of traditional circus and has evolved over the years to create a new form of entertainment filled with excitement and amazement. Q. What sort of challenges do you come across while preparing for overseas shows? A. Designing a show specifically to introduce Cirque du Soleil to a totally new audience is a creative challenge. It pushes our creators to find our essence and articulate it in a way that is universally understandable. With its story centered on the creative process and the energy found in the unexpected, Bazzar shines a light on what is uniquely Cirque du Soleil. The challenge is always the same, create a show that will be nothing like what the audience has ever seen before, and we have been successful in this for more than 30 years. Q. How has the circus industry changed over the years? A. For the past 30-years, I have taken on numerous roles behind the scenes in the circus, special events, film, television, and dance industry, including 20 years as a dancer and choreographer in a variety of styles. Now, access to new technology allows us the freedom to present the circus arts from a fresh perspective. It allows us to elevate our creative product. Q. Tell us about the artistes who are part of Bazzar. A. At Cirque du Soleil, our casting team—composed of some 60 people, including more than 20 talent scouts—does everything in its power to find exceptional artistes for current and upcoming Cirque du Soleil productions throughout the world. They play a consulting role with various creation teams, directors and artistic directors by showing them acts or artistes discovered at auditions or scouting activities. The creation teams leave it up to the experts to find the talent that will give each show its unique character. Bazzar features an international cast of 30 performers and musicians. The cast comes from 13 different countries. Two of the performers are Indian. Q. Which is your favourite Cirque du Soleil show to date? A. In 2005, I joined Cirque du Soleil as an artistic coach on their numerous productions, collaborating with creators on Cirque du Soleil’s Michael Jackson One, Michael Jackson The Immortal, Zarkana and Amaluna. Since 2013, I have created and directed special events and shows for numerous Montreal-based companies, including 45 Degrees. In 2014, Kurios: Cabinet of Curiosities was my first engagement on a Cirque du Soleil show as acrobatic choreographer and in 2017, I acted as the show director for Cirque du Soleil’s “At Seas” productions. Obviously, these shows have a special place in my heart. Bazzar is my second engagement as Director of a Cirque du Soleil touring show and for the first time, we are presenting a duo Mallakhamb act in a Cirque du Soleil performance. We created an incredible fusion of Mallakhamb and dance in a strong performance set to an original musical score. I am very excited for that one. Q. What do you like most about being part of Cirque du Soleil? A. Cirque du Soleil is a leader in live entertainment. Thirty years ago, they reinvented the circus arts and created a new form of entertainment centered on human performance, without animals. Today, they maintain that leadership by constantly being on the lookout for innovative technology and new types of performance and looks, for ways to integrate them in our shows. This company is a great supporter of dreams. I feel blessed because I am able to work with collaborators that are the best in the business and who are fully supportive when it comes to bringing my visions to reality. I never stop learning in this company! I love how they challenge me to keep pushing my creativity. ------------------------------------------------------------ Jean David's Quel Cirque, Part 1 of 12: "The Early Years" A Special Series Celebrating Cirque's 35th Anniversary ------------------------------------------------------------ Today a consultant in creativity and event marketing, Jean David was one of the pioneers of Cirque du Soleil, where he led the marketing department for 15 years (from 1984-1999), introducing the magic of the Grand Chapiteau to the whole world. During his tenure, David distinguished himself through innovative methods by commercializing the Big Top and introducing its magic to other cultures on four continents. A man of vision but also a determined entrepreneur, Jean David acted as Vice President of Entertainment, Sales & Marketing at the WYNN Hotel in Las Vegas before moving to India for 18 months, where he led a pre-feasibility study for the creation of an innovative project: the Mumbai International Creative Center, an international resort centered around the theme of creativity. In his 2005 book - "Quel Cirque!" ("What a Cirque!") - David offered his views on leadership and revealed the innovative qualities that contributed to Cirque du Soleil's enormous success in marketing, management, creation and exploration. There was only one problem... it was written in his native French. Thankfully, David himself translated and web-published an English-language version of his book and we've collected the relevant Cirque-related chapters for this 12-part series. Jean David's "Quel Cirque" is a fantastic read and as Cirque du Soleil celebrates its 35th anniversary this year, we thought this would be the perfect year to share these texts with you. So, without further ado, Quel Cirque! # # # I was born in Quebec City, the fourth in a family of six children with five boys and the eldest a girl. My parents had to work hard to make ends meet. We led a simple life, content with the few things we had. All in all, life was beautiful. When I was six or seven years of age, life, people, and events seemed like a mystery to me. I would look through the living room window at the houses across the street and think: “Those people must be really intelligent.” One morning, curiosity got the better of me, and I ventured across the street. I had a chat with them and found out they weren’t different from me or the people I knew. Like many children, I wanted to understand everything. What was life about? Why were there subjects nobody mentioned? What were they? Why couldn’t they be explained? I was sure it was possible. Life was full of wonder. My childhood was calm and uneventful. One summer, I spent a few days with my godfather and godmother, Brian and Hélène Blais, in the village of Baie-Saint-Paul. Uncle Brian, an engineer, was working on the construction of the new hospital. The couple lived in a modest home near the pier. While I was there something wonderful happened: the circus came to town, pitching its tent a stone’s throw from the house. What could be more thrilling for a little boy? A world of wonderment. In the eyes of an adult it was a simple enough occurrence, but for me, it would take on new meaning 20 years later. When I was 14, as I walked to school through Limoilou, a working-class district in Quebec City, I looked at the apartment buildings along the way. The people in there must be geniuses, I thought. But what did geniuses look like? Would I recognize them if I saw them on the street. Like many of my mates, I was more interested in the schoolyard than in the classroom. Everything seemed more stimulating, concrete, and real outside with my friends. And I didn’t take homework seriously. I had my own ideas about how I wanted to spend my time. My curiosity was insatiable. And I was never really shy. When school let out, I sometimes wandered around the school basement, peering into the rooms to see what was going on. I saw lots of people talking things over and preparing for the next day. I tried to listen in. I wanted to be involved, to participate, and to make a contribution. It was like a game, combining daring and youthful determination. It was a challenge. Something was going on, and I wanted to be in on it. A teacher told us that people use only 10% of their brain capacity. There must be lots of things to discover, I thought. Fantastic! Just think what we could do if we used 100%. My friends and I had a good time imagining all the fun we’d have: we’d become invisible, we’d read people’s minds, and we’d talk to the animals. Like most people, the teacher thought that as we used only 10% of our capacity, we could hardly imagine what human beings would be like if they used their maximum potential. It was only logical. We weren’t intelligent enough to conceive of a truly intelligent person. As I was a teenager, I came up with an analogy: our brain is like a computer that is as big as the Empire State Building, but we’re only using the basement. I concluded that our understanding of human beings and society was based on a limited use of our intellectual capacity. No wonder there were so many problems in the world! I was convinced that the future would hold the answers to a multitude of questions. For me the future meant the year 2000! When I was 17 years old, I studied Communications at Jonquière College. It was a remarkable if somewhat truncated year. One of our teachers Yves Doré really impressed us. It was an extraordinary learning experience. He taught us about Marshall McLuhan and his theory of the global village. He introduced us to a whole new world: the extensions of man, brain hemisphere specialization, mental imagery, initiation in the technique of collage, dissonance, redundancy, the notion of subjectivity … At last, I’d found something stimulating, something that could really challenge me! In that brief period of time, for a variety of reasons, mainly due to my personality, I started to participate in student activities. I was chosen student representative on the department’s educational committee. At one of the committee meetings, the head of the department, singling out Yves Doré, admonished teachers to concentrate on the curriculum and make sure not to let students get them off topic. When we went to work in the media, he said, our future bosses certainly would not be brain surgeons or college professors and they would take a dim view of us if we seem smarter than they were. Worst still, he added, we would risk compromising the good name of the department and of the college. Imagine that! The department was in crisis, and I was fed up. Why should I attend classes? At best, I’d end up with a worthless diploma. So I quit before the end of the first year. I was a dropout and proud to be. Even today, I notice, the dropout rate is pretty high. A few months after I left college, an extraordinary book entitled Les ZooGep camp de concentrations (Éditions Tribales, 1973) recounting the events that highlighted that year at college appeared. The author was none other than Yves Doré, who had left the department by then. The work was done in collaboration with illustrator Serge Bureau, a former student. An excerpt from the book reads as follows: “In my mind the disgust young people feel towards school has two main causes first the academic institutions are administered by administrators who administrate for the sake of administrating the administered and even that they do badly.” (Cf. Dr Girouard, Cégep de Saint-Hyacinthe). “The second cause is even more appalling. In the past 25 years, the West has undergone an important Mutation but few adults (not even teachers) are aware of it. Today’s schools were designed by Westerners of the old school (Mgr. Parent, Soeur Roquet). It’s as if the schools are trying in vain to educate a generation of young people who, in fact, no longer exist. And the young people who do exist are forced to live in cages at the ZOO (ZooGONDAIRE, ZooGEP, ZooNIVERSITÉ) were their trainers reward them with diplomas for grimacing and carrying on like monkeys. I call this GENOCIDE.” Published 30 years ago, the book is still relevant. I recommend it to students, teachers, and administrators at every level of every educational system in the land. I never went back to school. For a long time I proudly kept the word “dropout” in the Academic Background section of my résumé. When I left college there were two things I was sure of: first, I loved communications and I had chosen the right career; second, I didn’t know very much and I had a lot to learn. By quitting school, I was refusing to play the role of an idiot that society wanted to assign me. I decided to do things my way. I went into business. Some friends and I founded MODUX Communications Inc., a small agency involved in advertising (to earn a living) and communications research (to learn about life). And, oddly enough, I went into politics. When I was just a little kid, my paternal grandfather got a kick out of standing me up on the dining-room table and telling me to “make a speech.” One day, you’ll be Prime Minister, he said. With this early conditioning it’s hardly surprising that I jumped at the chance to get into politics. I certainly wasn’t bashful. I wasn’t afraid to express my opinion. At 17, I was named the first chairman of the Quebec Liberal Party’s youth commission. Robert Bourassa was the Liberal leader at the time. The winds of change were blowing through society, and the feeling was that everything was possible. I loved the cut and thrust of political debate. Organizing meetings and participating in something grand was exhilarating. In those days, I was far more active at the grassroots level than in conference rooms or ministers’ suites. In the 1973 election campaign, I served on the provincial speakers committee, a flying squad of speakers who undertook a variety of assignments. Once I was addressing an audience of nearly a thousand people in Cabano, in the Bas-du-Fleuve region of Quebec. My job was to warm up the room for a Cabinet minister who was speaking next. My talk was supposed to last 20 minutes, but after only ten, I went blank. Worse still, I felt completely empty inside. It suddenly occurred to me that I had no idea what I was talking about. I was just regurgitating other people’s ideas. So much for the presentation; so much for my political career! Within months I’d handed in my resignation, swearing that the next time I got into politics, I’d know what I was doing and why I was doing it. It was years before I could bring myself to speak in public again. In those days, mass communications and new phenomena fascinated me. I was intrigued by anything to do with mental pictures. I couldn’t learn enough about these topics. I was a voracious reader; I consumed everything I could lay my hands on. A recent discovery that nearly caused a revolution among thinkers fired my imagination. It concerned the idea that the hemispheres of the brain are specialized for the performance of different tasks. The brain is divided into two hemispheres popularly known as the left brain and the right brain. According to the theory, the left brain is rational and logical; it thinks in concepts; it is objective. The right brain is intuitive and emotional; it thinks in images; it is subjective. If an object is viewed by the two hemispheres, you could say that the right brain, viewing it from the inside, perceives a sphere; the left brain, viewing it from the outside, perceives a cube. Similarly, the left brain perceives time as past, present, and future while the right brain perceives it as infinite, omnipresent, even compressed. This is a simple way of presenting an extremely complex process. Déjà vu, the feeling of having already experienced the present moment or situation, also captured my attention. Every time I had this feeling a multitude of questions arose. What did it mean? I often dismissed it as a fragment of a dream. And I found this somewhat disconcerting. I was searching for a meaning, some association. What consequences could it have? But then, the feeling would fade away, and nothing but a vague impression remained. I was left wanting more. Déjà vu loomed large in my mind. The feeling occurred frequently. Each time, the same questions and doubts resurfaced. It was troubling. But then, I told myself that, after all, I was young and a bit of a dreamer. Since I was preoccupied with déjà vu, it was only natural that I experienced the feeling more and more. Finally I grew tired of wrestling with unanswerable questions. They were all very interesting, but they didn’t lead anywhere. Since I hadn’t found a rational explanation of déjà vu, I tried to come up with my own. I concluded that déjà vu is nothing more than “psychic fart.” Just as our digestive system occasionally gives rise to flatulence, the brain too gives rise to psychic flatulence. As strange as it may seem, once I came up with the idea, my concerns vanished. Better still, so did déjà vu … I learned it was possible to eliminate false problems. At 20 years of age, I still couldn’t understand why no one could explain how the brain functioned and our thought process worked. It would make a wonderful theme for a TV series: The Brain Connection! I thought it odd how this fundamental aspect of human beings was shrouded in silence, treated as if it were taboo. Silence allowed every sort of belief to exist. I understood that our society and the world in general were out of whack, governed by arbitrary notions mainly to do with the world economic order and with other factors in which I had no confidence. I had a funny feeling that the human species had somehow gone astray. It seemed really odd to find myself in a world that was so profoundly lost. How could you know where you’re going when you don’t know where you come from? There had to be some explanation! Some religions and belief systems taught us to abandon all attempt to understand. This didn’t satisfy me. We have a head on our shoulders. So why not use it to understand what’s going on? I must have been 21 or 22 years old when it first occurred to me that truth must not be confined within us; it must be manifested in the world around us and actualized in reality. This is a principle that I have lived by. What do you believe in? { To Be Continued... } ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 19, Number 1 (Issue #180) - January 2019 "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C) 2001-2019 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., All Rights Reserved. No copyright infringement intended. { Jan.11.2019 } =======================================================================