Dan
Worldwide, --
Male, 33
Lead artist, feature act and fire coach for Cirque Du Soleil. Recently for the ZAiA production in Macau from 2010 to 2012. Currently freelancing while between Cirque contracts.
I'm a fire dancer / fire manipulation specialist. I use flaming props such as fire swords, fire ropes, fire staffs, with special effects and pyrotechnics in a combination of dance and martial arts style movements. Ask me anything, and check my website... www.sparkfiredance.com
Not that I know of. Not in the sense of full shows. Most have their acts which they perform with other companies.
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Varies greatly by discipline. Violinists, jugglers, acrobats, breakdancers, aerialists, trampolinists, singers, all have different requirements. Everyone comes to Cirque with a very high level of experience and have their own training backgrounds and lifestyles. Although there are combined training sessions for the group acts, which sometimes incorporate conditioning (i.e. ankle training for the teeterboard cast, shoulder training for the trapeze cast, generally run by the physio's) it's each artists responsibility to maintain his or herself to the levels demanded of them.
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Not really. I mean there's some relationships that happen, good friends of mine have found long term meaningful relationships, but on my show many of people either came with their partners, or had relationships outside the show cast. It's a shame to destroy peoples illusions of super flexy sexy orgies of ripped acrobats, but the reality is we all have a very high degree of professionalism and are generally very cautious when it comes to disrupting what has to be a very focused work environment. Relationships are not frowned upon or anything, I think everyone's just careful not to fuck with their work place.
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I haven't seen them live myself except for recordings. Personally I really dig 'Ka'. Love the costumes. Many others absolutely go for 'Love'. Out of all of cirques shows 'O' has been the most successful, even referred to as the mother show sometimes as it's proceeds subsidize many of the less profitable shows.
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Keep doing what your doing. No doubt about it.
You can be on the database for years before the right position opens up for your particular skillset and profile, no matter how talented you are.
Plus Cirques just cut a lot of artists positions, around 80 in total from various shows, so they're not really in an expansive phase right now and they'll have alot of experienced talent on the side lines so to speak.
Just keep your material updated in case that opportunity comes.
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Adrenilne always comes. Trust your muscle memory. Rehearsed it enough and your body knows what it's doing.
Cirques a tough stage because you feel like you have to deliver not just for yourself or for the audience, but for every other artist and technician and every bit of sweat and love they've put into making the show work. It's high pressure because you respect and value your fellow artists and crew so highly.
Day in day out, it's tough to find the balance between that push and your own energetic limits.
Have your physical and metal routines to prepare yourself. Take some deep breathes, thank the universe for the chance to challenge yourself once again...
For general corporate gig work, as long as I've got fire in my hands I know I'm all good, more fire is always better than less, got the tap on that raw power and can ride it. Better for me to come off stage with burns than feeling like I didn't bring enough.
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From 30K USD for new recruits in certain acts, up to 250K USD for established artists who hold exclusive rights to their act.
sources:
- Brian d Johnson, Macleans magazine, "cirque du soleil" July 27 1998
- Cirque_du_Soleil HRM Practices ICMR center for Management Research, Manasi Pawar 2007
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