This is the second instalment of our new E-TIPS® series on Canadian Names and Trade-Marks and puts the spotlight on the internationally famous mark of the Canadian entertainment company Cirque du Soleil. More than 40 million spectators have gaped open-mouthed at Cirque du Soleil’s extraordinary shows, which combine sophisticated acrobatics, original music, detailed costumes and unique theatrical performances.
While it is currently worth over $1 billion and touts yearly global ticket sales of upwards of $450 million, the company began humbly in the small village of Baie-Saint-Paul near Quebec City. Cirque du Soleil was founded in the early 1980s by Guy Laliberté and Gilles Ste-Croix as a theatre troupe which not only danced and played music, but also performed circus acts such as walking on stilts and breathing fire. The company’s name was coined by Laliberté after a trip to Hawaii which inspired him to research the symbolism behind the sun. Noting that the sun is synonymous with “youth”, “energy” and “dynamism”, the name “Cirque du Soleil” was born. The troupe’s logo was created by the artist Josée Bélanger in 1984 and is inspired by the sun design often depicted on tarot cards.
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Source: Canadian Design Resource[/caption]
The troupe gained fame when it was chosen by the government of Quebec in 1984 to devise and host a production celebrating the 450th anniversary celebration of Jacques Cartier’s discovery of Canada. By 1992, Cirque du Soleil had become sufficiently secure financially to operate without any grants from the public or private sectors. Later, artistic directors from the National Circus School helped infuse Cirque du Soleil with elements that have become the company’s hallmarks.
Notably, Cirque du Soleil has neither animal performers nor any circus rings. The cast trains for months in Montreal, becoming skilled not only in the gymnastic arts, but also in circus acts and theatrical performance. Scouts search for talented performers all over the world, for example, as far as Mongolia to find and train the perfect contortionist. Shows are defined by a unified theme which ties the acts together, yet does not form a complete narrative. Original music is composed for each show and performed live, allowing musicians to follow the pace and movements of performers. The loose theme and lack of song lyrics are just two of the many Cirque du Soleil features which force audiences of as many as 3000 people to interpret what they see using their own imagination. Adding to the fantasy element of the shows is the fact that from start to finish, the performers remain in character, and have no curtains or stage hands to hide behind.
The company’s International Head Office, located in Montreal, does not merely encompass conventional corporate departments. The centre has been dubbed Cirque du Soleil’s “international laboratory of creativity”, housing the company’s craftsmen, performers and creative directors. One of the hub’s wings is dedicated to training performers, features three acrobatic training rooms, a dance studio, a studio-theatre and weight-training facilities. This is also where much of Cirque du Soleil’s research and development occurs and where new acrobatic techniques and equipment such as the double Russian swing are created. Equally essential is the workshop wing, where over 400 craftspeople such as shoemakers and dressmakers design and hand-create each costume featured in one of Cirque du Soleil’s shows. To perform challenging physical and theatrical performances means that acrobats require costumes which are not only beautiful, but also flexible and strong. To meet these demands, Cirque du Soleil has invented countless tools which facilitate the creation of entirely new fabrics.
Cirque du Soleil is a worldwide Canadian success. Employing more than 4000 people from over 40 countries, the company currently has a total of 20 touring and permanent shows located all over the world. Critically acclaimed and an audience favourite, there is no doubt that Cirque du Soleil has already become an enduring trade-mark.
Summary by:
Elena Iosef and Cheryl Cheung
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