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
Auditions for Cirque are very competitive. It's many people's dream to be on the stage with Cirque. Dancers, clowns, jugglers all come by the hundreds. People travel internationally to attend the casting calls with the hopes their skills will stand out. Obviously for most it doesn't end up with a position but I think, I hope, it's a very interesting and rewarding experience for them anyway. The casting scouts and agents themselves have great interpersonal skills. It's their job to encourage people to show their true selves and push their boundaries in an uncomfortable environment. They might ask you to play weird characters, dance with the intent of a particular emotion, improvise a routine to music you've never heard. There's a good documentary following some artists through the audition process to give you a better idea: http://www.youtube.com/watch?v=BLouxprAHtQ Personally I'm speaking from secondhand knowledge as I bypassed the audition process. I had been contacted by cirque requesting technical advice during the development of a show that I ended up being cast to. I knew the fire artist on that show, had worked with him, and he had recommended they contact me for advice when they found themselves in a tricky situation with fire fuels. I had already submitted material to the casting department some time ago and due to my unique/rare skill-set I had been accepted onto the database as a potential candidate without an audition. When that fire artist decided to leave the show I was in a unique position, with just the right techniques, very similar props and movement, and the right level of experience. I got an email from them shortly afterwards requesting a phone conversation and took it onwards from there.
Worst? hmm well, luckily none of my injuries have been what you'd call properly severely major. I'll just list a few. I've torn my hamstring rather badly, main muscle body and attachment, that took 12 months. But I got to try a very cool cutting edge technique to treat it called plasma injection prolotherapy. I fractured my left forearm, ulna, but it was a hairline fracture that went undiagnosed, couldn't figure out why what I thought was a ligament strain was so painful and ended up working through it only figuring it out later. Tore a very inconvenient ligament in my left wrist. Had to spend 20 minutes taping it up before every show. For 5 months. Burnt all the skin off the tops of my fingers dealing with someone else's f*ckup. Set my back on fire once, that one was totally my own fault :-) I've completely ruptured some of the triangular fibrocartilage complex in my right wrist. Still hurts to do handstands, which really sucks. But worst.... yeah worst would have to be a full back muscle spasm I had during a show. I pushed through it, finished the act, staggered offstage and couldn't walk for a week. Back injuries suck big time. For over a year I kept getting twinges, had to modify my training and conditioning a lot, and always had a fear in the back of my head when heading up to stage that it was going to happen again. That one took a very long time to get over. I think it was really a turning point and the end of my feelings of youth and invincibility. The rest, smacks, cuts, strains, burns, are all just part of the deal and not really worth mentioning. My discipline is actually rather lightweight. Talk to a teeterboard artist whose doing 12 shows a week about their knees and ankles. Ever seen an MRI of a shattered femur?
It's real fire. I deal with real heat, real burns. Over the years I've learnt how to work with it very closely. I've found the limits by constantly pushing them. I've always wanted to bring the maximum possible fire to the stage with my props. To drag it over my skin, to hear the audience gasp. The pain is momentary, a challenge, and its something you learn to push through. It brings authenticity and intensity to the performance. It comes down to timing, muscle memory, costume material selection and pain tolerance. For me, it's worth it, for the amazement of the crowd, for doing the seeming impossible, for having the chance in my life, to do something no one else has done before, to try to be the best at something, for a brief moment, so fleeting in the scale of things, but to shine as brightly as I can. You can see some of my work here: vimeo.com/sparkfire
On the Zaia show they were happy for the audience to take pictures to try to spread the word back into the difficult to penetrate mainland Chinese market. I think flash photography is obviously a safety hazard. As far as the rest I guess it's to help keep people coming to watch the shows rather than seeing it on youtube.
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How do you fend off hecklers?'Ghost in the Shell' would be cool. A bit different for a change, neo-tech Japanese cyborg mech kinda thing. Could use some of the latest projection mapping, holographics and animatronics in the design.
Scared? no. There's still stage nerves sometimes. New act, big show, tough crowd etc. But scared of what I do? No. I've worked with fire and my props for a very long time. I've never been afraid of the fire. Sometimes it demands respect, and sometimes you push to far and you have to deal with some pain, but it's much scarier to stand on stage without fire all around me.
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.
Many small companies borrow inspiration from Cirque du Soleil shows, costume styles and makeup being the obvious influences. Other more established companies like Les 7 doigts de la main or Cirque Éloize go beyond Cirque du Soleil and explore completely unique and distinctive styles all their own. I find that much more compelling. Working for companies like those can in some ways be even more highly regarded than performing for Cirque du Soleil as these smaller elite troupes require an equally world class level but with multiple skillsets / disciplines generally required from their casts.
Dream job. hmm. No. That would be wingsuit basejumper or Dj superstar... or something that takes less work. When your on a contract the show takes up a very large part of your life. It does get easier as it goes, and you can be making good money, but your away from friends and family, often in a place you wouldn't choose to live for a resident show, or constantly unpacking/repacking for a touring show. When your not on a contract and freelancing your working all the time. 7 days a week your answering emails, fielding enquiries (if your lucky) pitching proposals. Otherwise your calling agents, sending out promo material, shooting new material, photoshopping, videoediting, fixing your website, designing costumes, debt collecting, fixing equipment, dealing with logistics and itineraries for gigs, and if your really lucky you get time to choreograph, rehearse and practice somewhere in there. There's often nothing dreamy about being a performer, but getting in with Cirque can make certain things easier, it shifts your focus to body and mind maintenance, which is what most want. You do have to learn how to adapt your performances for the long haul, night after night after night. As far as when I knew what i wanted to do? I haven't figured that out yet. This is just what I'm still doing in the meantime.
Well the key there is it's not a mistake if the audience doesn't realise. There are obvious mistakes, jugglers dropping, acrobats falling over, these happen once in awhile, as rarely as we can make it! Then there are the times when something wasn't done quite as smoothly as it could have been, when an artist is sick and can only give 90%, when an injury means a trick is skipped, these are more often than you'll ever know.
It took me 2 hours in the beginning. After quite a few months of doing the same makeup day after day I got it down to a comfortable 35 minutes. If I really need to I can do it in 22 minutes, but it's definitely cutting a few corners. I've seen an acrobat (who will go unnamed) do his in 15 minutes when he was really late, but you'd not want to get caught by the director looking like that. For photoshoots or media appearances they'll have the head makeup artist do alot on us and it can take several hours.
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.
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.
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
Not that I know of. Not in the sense of full shows. Most have their acts which they perform with other companies.
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.
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.
Worst, Chinese. Very unresponsive. Different social backgrounds.
Best, to be honest I love performing at festivals best, when there's some fat dubstep or drum n bass rockin out and I can go wild and the crowds there with me for every drop... Like this:
https://www.facebook.com/photo.php?v=372227859566075
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
Yeah their act actually used to be alot more hardcore, they're getting old. Check out their earlier stuff.
No special training. My discipline is a self taught one. When I started there wasn't even youtube videos to learn from, which I think gives you a special something, to have to learn and discover the hard way from scratch.
I was performing at festivals from my early teens, during and after finishing high school. Work wise most jobs I've had felt like a waste of time compared. I prefer to spend my hours developing something that expands myself, my learning, abilities, or buisness acumen... and often that only comes from running your own buisness.
I certainly had much more of a home base and stable life before performing full time though. I had to give up a lot to follow the performance path, it's a tough choice to make, but lifes full of those.
Still on the lookout for what to do next. The toughest question for any performer as it's not a great career to grow old with!
MAC and NYE
Haven't seen it yet. I'll update this answer when I have.
Group acts have rotations so different versions can be performed depending on whose out and there's always a contingency plan. The lead roles have backups. The acts can be modified, or if it's a specialty act there's often a backup act other artists can do. If not then the act can be cut. The backup artists and acts are usually rotated into the show once or twice a week to keep them practiced at it. Artists are also rotated through different show cues so they can be covered if necessary. Cirque encourages artists to continue to develop other skills that it can utilise for backup acts. If the injury happens during show the artist is assessed by the physios and the call is made to stage management as to whether they'll be out of the next show fully or on a modified track, for example cues only, no jumping etc. If you've gotten sick or injured outside of work, or an injury has worsened, you're expected to notify a minimum of 3 hours prior to show so stage management can modify the lineup accordingly. If an artist from a specialty act is out with a serious injury for quite awhile, i.e. surgery, then another temporary replacement act can be sourced and flown in. If an act is already out, and someone from a backup act gets sick there might be an emergency staging to modify the show as necessary. So really, there's quite a few variations that can occur on the shows, and we have to keep on our toes! As for myself, when I was too injured to perform at all (which was only once for a couple weeks) the two chinese dancers who I had been coaching fire performed a duo as replacement.
I believe there's currently 19 shows running. Nope, Guy doesn't have much to do with the shows anymore. Daniel Lamarre is president and CEO. The one time Guy came to see Zaia there just happened to be a world poker championship on in Macau at the same time :-) Fair enough I reckon. He's earned the right to enjoy his success.
Nope. Just normal dancers underwear.
Majority? No.
Maintaining a stage worthy physique is part of the contract.
Obviosuly some characters or acts can get away with slipping more than others.
If your an aerial flyer you can get bet your partners will come down on you pretty quick if you start putting the pounds on.
Yes, Mexicans are great, British are very enthusiastic but it's because they get very drunk, Japanese are reserved but appreciative, Chinese watch a show like a TV set, no response. Different culture.
I heard Love was good. I thought ZED wask freaking amazing. The show i was in, Zaia, wasn't my favorite.
People enjoy different shows I guess.
Just keep your material updated, if your on the database as a potential you'll still be there.
It's best to upload a new skills video every 6 months to show them your still fit and top of your game.
I have no first hand insight into vegas operations.
Off the cuff and totally a personal opinion? People doing crazy shit around heavy machinery and rigging night after night are going to get hurt sometimes.
I'm sure theres always *something* that could have been done better... but its pretty hard to completley surpress human error with up to 500 shows a year.
That doesn't mean it shouldn't be improved. I didn't actually follow the stories at all but heard of some incompetance. I don't know. People get tired. I certainly did and occasionally paid the price.
But I heard Dragone can be even tougher. Its a tough buisness, but I'm sure nearly every artist you ask will say its worth it.
Personally I experienced very good OH&S with Cirque.
Casts change. Not because of the tour, if your cast on a touring show you know you'll be on the move, but injuries, end of contracts, show changes etc.
It would actually be pretty rare to see the exact same show on two different nights due to the rotations.
You should definitely encourage her if she's enjoying it, even if it doesn't become a career. Too many people are out of touch with their body, at the very least it's beautiful to have a passionate way to keep fit.
On a work level it's a job you should be doing because you love it, not for the money. It's often insecure, transient, hard work... but if your good you may get to travel the world and see amazing places more than you could ever dream. I've performed in 37 countries around the world, and thats not a particularly high count for peers at my level.
We were rated yearly.
Performance, physical maintenance, how we worked with the other artists and stage management, how proactive we were in development, of ourselves and new skills and how many new ideas we came up with, our makeup (that was an important one) punctuality, how well we followed performance medicines physio directions etc etc. all reviewed based on reports from various depts. throughout the year.
Same as any job in a big company I guess. Sometimes it made sense and sometimes it felt like just a procedure.
We do something else. I'll let you know when I figure out my own answer to this one. Its a tough problem for every artist.
Music festivals in the Australian forests.
I enjoyed the flow, the continuation of momentum, bending it to the music, syncing with electronic beats and pushing physical boundaries, catching impossible throws, teasing and daring the fire to bite, and getting great positive feedback from audiences.
Canada is absolutely one of the world leaders in circus arts. I'm sure they would have been up there anyway but having Cirques huge training center there definitely pushes the level very high.
Seriosuly? thats a pretty loose question for a cirque artist.
If you want to be a dancer for Cirque you have to be very good at dance.
I'm really not sure re current casts, I'm sure theres some late bloomers.
It might be tough, and it would be very hard to reach the same levels of the guys and girls that started at 6. But if you don't mind that then go for it.
If your talking about tumbling then it might be a short career. If your talking about equilibristics / hand to hand then you can go a fair bit longer.
Favorite... as an artist, and one who grew up with it very much as a side career, its pretty special to just be able to dedicate yourself to your skill, train as much as you want (or think you can handle) and most importantly not stress about where the next 'gig' is coming from.
Surprising? Maybe it was the show i was on, which was a bit of an orphaned show out in Asia, but a lack of proactivity in furthering the development of the performers. What I realised was most were coming from sports, and it was a lessening of intensity for them compared to their required skills for competition, although it ends up much more of a continous grind... they have their solid foundation and train the way they want.
Cirque do encourage you to learn new skills and acts etc. But coming from a non classical / dance or gymnastics backgroud I personally really could have used some more help with improvment of biomechanics and long term physical sustainability with my act.
I hope I dont come across as too negative. It really is an amazing and fantastic company to work for and be a part of. I guess I just enjoy bringing light to the less glittery side of things that many people dont get to see ;-)
Not that I know of. I mean even if you did you still need the funds to pursue it in court right?
There's many copycat acts out there. They suck balls. If your going to do something amazing be original, or at least improve on what inspired you, take it the next level.
Depends on your skills, background, degree of speciality, and negotiation prowess.
Everything ends eventually. I think it would take a very big change in the world for Cirque to shut their doors entirely. They can always downsize in a depression, people like to be entertained and taken away from their worries into another world.
I'm not sure I understand what you mean by plays? As in theatrical work? Not my area of expertise.
The best training is to start gymnastic very young.
As young as possible. There's plenty of resources online for the various disciplines but it's best to come from gymnastics or learn at one of the major circus schools.
I had material on the cirque database several years before my first position came up.
No. The aritst doing fire ropes there is Justice Orion.
https://www.quora.com/How-much-do-Cirque-du-Soleil-performers-make
Yes, at least temporarily until the performer was brought to safety. Medics are side of stage for every dangerous number.
Not too late to be a performer at all. A gent I knew of began acrobalance at 40 and won several awards. You just have to be realistic about what you want to achieve. You'll never have the general physical capabilities of an ex gymnast, but you can specialise in certain tricks, comedy, character etc. 20's easily young enough to reach a pretty high proficiency.
Until a position opened that they needed me for. In my case they had my material for several years. They could call you next week, next year, next decade or never, even if your an amazing artist, it's whether they need you specific skills, body type etc.
Not a full act but elements. I only hope someone that borrows from me creatively improves upon what I do, then I have no beef.
there are minors, accompanied by a responsible coach who is their guardian etc.
Beer and stretching. Not necessarily in that order.
Just fell into performing while I figured out what else to do.
Depends on how good you are, how unique your act etc. There a lot of aerialists out there. I wouldn't say it's a career you enter for the stable wage, you have to love it and sacrifice a lot to live the life.
Contact headoffice. Google.
Costume/makeup designer in montreal.
off the top of my head 1/4 to 1/3 I think
As a performer you always have your eye on them, so when I started performing and became aware of them I guess
I honestly don't know but I'm sure its well accomodated
I had dry needling which is similar without the faff and meridian bullshit. Sham acupuncture is just as effective as acupuncture. http://www.ncbi.nlm.nih.gov/pubmed/19250001
Go to a circus school. Take classic and contemporary dance. Understand your body and learn pilates/functional training/PNF stretching. Understand you might need to move to where the work is. There will be tough times and injuries. you will get old. It's still a great way to see the world and can be hell fun. Go for it.
depends if your a gymnast, chinese contortionist or a clown.
I wont comment on my wages. I don't know the differences on resident vs touring but your paid generally per show so the numbers there will be different.
as in tumbling? can't hurt, but if your trying to get in with an aerial act you might not need it. They tend to use the 'house troupe' of gymnasts for most acrobatics
I would be surprised. You hear it every day.
Thanks, i wasn't on either of those but thanks anyway
it's complicated.
It varies enormously
dating? uhh yeah, sure, we date outside the entertainment industry... but it helps if your partner understands the life / time away
cirquetribune.com used to host this information. I believe the forum is now defunct
Juggling meetup are the best way. Play festival is a great one in the UK. Or for something larger the European juggling convention
no idea, i dont sing
MAC and NYE
I think minors are cast for certain roles with an adult supervisor
I'm very sure there are. I don't know any personally though.
Many performers coach and teach. I still focus on performing myself
Varies a lot
what doesn't get sent back to HQ is destroyed. They would love to donate it but there are legal/OH&S issues if for instance a harness is donated then fails...Its really a shame when you watch 10 new swivel stunt harnesses cut to pieces.
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