Corteo: Press Kit - Cirque du Soleil

Press Kit

Show Overview
Written and Directed by Daniele Finzi Pasca
Corteo, which means “cortege” in Italian, is a joyous
procession, a festive parade imagined by a clown.
The show brings together the passion of the actor
with the grace and power of the acrobat to plunge
the audience into a theatrical world of fun, comedy
and spontaneity situated in a mysterious space
between heaven and earth.
The clown pictures his own funeral taking place in a
carnival atmosphere, watched over by quietly caring
angels. Juxtaposing the large with the small, the
ridiculous with the tragic and the magic of perfection
with the charm of imperfection, the show highlights
the strength and fragility of the clown, as well as
his wisdom and kindness, to illustrate the portion
of humanity that is within each of us. The music,
by turns lyrical and playful, carries Corteo through
a timeless celebration in which illusion teases reality.

The Acts (in alphabetical order)
Acro-Duet
In this beautifully choreographed dance,
a couple gracefully glides through a
series of acrobatic and artistic poses
highlighting superior strength, balance,
and rhythm.
Bouncing Beds
Like a gaggle of young kids playing in
their grandparents’ room, six artists
jump on two 600-pound beds that
move on rotating platforms. In a playful
atmosphere, they perform acrobatic feats,
each more daring than the last.
Adagio Duet
This masterful, tender pas-de-deux using
contortion and hand-balancing is performed
by a duo of little people, on a
vertical ring set into a pivoting platform.
Chandeliers
Four women, the Dead Clown’s former
loves, come together in dreamlike joy. They
perform aerial acrobatics on three giant
chandeliers that spin above Mauro’s bed.
Artist Marionette
Like a live puppet, an artist marionette
suddenly appears in an innovative, rigging
apparatus to play with Mauro the Dreamer
Clown in a setting which evokes a beach
scene from his childhood.
Crystal Glasses and Tibetan Bowls
Implored by Mauro the Dreamer Clown
and the Giant Clown as they prepare to
perform a haunting melody on crystal
glasses, the Loyal Whistler, a whistling
virtuoso, showcases his remarkable talent in
a breathtaking performance.

Cyr Wheel
Five artists perform solos and group
figures on Cyr wheels. The simplicity
of the Cyr wheels’ line—a pure circle—
sets off the intricate and energetic
performance.
Golf
To the sound of bagpipes, a patch
of green light appears, suggesting a golf
course scene. The Giant Clown walks on
stage, intent on giving it his best shot!
Duo-Straps
In this mesmerizing act, a duet uses aerial
straps to create a magical and tender
connection that enchants the audience
with beautiful displays of agility, balance
and strength.
Helium Dance
A tender and poetic moment between
Mauro the Dreamer Clown and his little
Clowness who bespells the audience with
child-like delight.
Foot Juggling
Elegance, dexterity and coordination are
wrapped up in one character who carries
us away to a world tied to the traditions
of old-time circus, in which Mauro and his
friends once played.
Juggling
Four young artists perform fast-moving
feats of prowess in a surprising act that
blends juggling and acrobatics. With
unsurpassed style, they defy the law of
gravity as they juggle successively with
rings, hoops and clubs.

Acrobatic Ladder
A ladder specialist amazes the audience
with his unnerving balance and finesse
as he performs on various ladders, trying
desperately to reach the angel who is
watching him from above.
Teatro Intimo
Eight characters pile into a tiny theatre to
present a wild and zany version of “Romeo
and Juliet” where the unexpected awaits at
every turn.
Little Horses
A couple of “pantomime horses,” each
inhabited by two artists, give the Little
Clown a hard time. By turns, the Little
Horse and the Little Mare will try to break
free from their trainer’s grip.
Teeterboard
Surrounded by two groups of artists
lending rhythm to the act with their
voices and percussion work, three
acrobats redefine teeterboard technique
in an act where speed is rivalled only by
complexity.
Paradise
By superimposing a trampoline-like net and
three Korean frame stations placed further
apart from one another as never seen before,
a universe is created in which high-flying and
bouncing come together, as if it were the
most natural thing in the world, in a single
breathtaking act.
Tightwire
Surrounded by angels six metres above
the ground, a young woman dances across
a tight-wire using point shoes, a unicycle,
multiple hoops and her bare feet. Then, she
challenges gravity by climbing a 40-degree
diagonal tight-wire to disappear into the
heavens some 12 metres in the air.

Tournik
A group of artists cross paths in an act
which marries horizontal bar techniques
with circus arts. The artists perform on a
central cube-shaped structure, with two
additional bars on each side of the cube.
The complexity of the fright pattern and
the defiance of gravity will keep you on
the edge of your seat. A final farewell to
Mauro.
The Characters
Mauro the Dreamer Clown
Mauro the Dreamer Clown is the central
character of the story, the one who is
being honoured by this fantastic funeral
… but could it all be a dream? Whith a
former member of the troupe surrounding
him, he dons his costume to perform
onstage one last time.
The White Clown
For the White Clown, appearances are
what matters most. Like Mr. Loyal, he is an
authority figure … at least, he’d like to be.
Of all the colourful characters, he admires
only the stars and scorns the others. He is
the one who opens the door to the magic
of the circus for Mauro the Dreamer Clown.
The Loyal Whistler
The origins of the Loyal Whistler lie in the
classic role of “Mr. Loyal,” the ringmaster
of traditional circuses. The Loyal Whistler
evokes images of a former military man,
one who has retrained in the circus arts
but never quite lost his former ways.
When he starts to whistle, his boundless
artistic passion comes to the fore.

The Clowness
The Clowness is an actress, a veritable
Grande Dame of the stage, who somehow
found herself a part of this nutty troupe.
Her professionalism and her strength of
character allow her to bear the foolishness
of her partners, whom she never fails to
charm.
The Little Angel
The embodiment of sweetness and light,
the Little Angel watches over the Dreamer
Clown’s bed and acts as his guide, like
Beatrice, who guided Dante through
Paradise. It is the Little Angel who teaches
the Dreamer Clown to fly.
The Little Clown
A diminutive clown who’s in love with the
Clowness, the Little Clown is always ready
to play tricks on his associates. Impish and
lively, he is both an endearing companion
and a force to be reckoned with.
The August Clown
The August Clown is the White Clown’s
antagonist. As much as the White Clown
represents order and appearances, the
August Clown is the one who always messes
everything up and, as a result, finds himself
in the most incredible situation. The August
Clown is a physical character: he is prone to
falling down and his fellow stooges give him
a rough ride especially the White Clown.
The Giant Clown
Although only an amateur opera singer, the
Giant Clown imagines himself to be a great
artist of worldwide renown. Without doubt,
it is with him that the Dead Clown is closest,
almost like brothers.

Set Design
The set and decor of Corteo plunge the audience
into a lyrical world, a strange area between heaven
and earth.
The Stage
Set Designer Jean Rabasse has divided the Grand
Chapiteau and its rotating stage in two, with each
half of the audience facing the other half, so they
see not only the performance, but also have a
performer’s eye view of the audience. This is a first
for Cirque du Soleil.
• There are two turntables built into the stage,
which is about 31.6 m long, and the track is
almost 12.5 m long.
• More than 9,000 images were used in the research
and development phase of the set design to blend
many visual styles and influences, from the baroque
to the modern.
The Patience
The Patience is a massive arched technical structure
made of steel which dominates the interior of the
Grand Chapiteau. It is one of the most complex set
elements in the show and is used to transport various
scenic elements and pieces of acrobatic equipment
on and off stage from above.
• The Patience has two rails that traverse the
Grand Chapiteau.
• Each rail is fitted with four platform-like carts
to carry the scenic and acrobatic elements.
• The eight carts have a lifting capacity of 450 kg
and a top speed of 1.2 m per second.
• The Patience is 12.5 m above the stage at its
highest point. It is entirely self-supporting and
could be set up anywhere.
The Curtains
It was a visit to the exhibition “The Great Parade:
Portrait of the Artist as a Clown” at the National
Gallery of Canada that inspired Jean Rabasse to
paint the Corteo Procession on the curtains. His
design was influenced by the work of such painters
as Willette, Picasso, Tiepolo, Pelez and Knight.
• The inspiration for the show’s curtains was an
1885 painting by Parisian artist Adolphe Willette.
• The two enormous baroque-style “Roll Drop”
curtains (17.6 m wide and almost 12 m high), and
the four sideways-opening Italian-style curtains
are among the most striking scenic elements in
the show. They were sewn in Canada and sent
to France to be painted.
• It took more than two weeks to paint each of
the central curtains with watercolours.
• The central curtains are attached to huge supports
which contain winding motors to roll them.
The Labyrinth
In the centre of the circular stage is a labyrinth
which precisely reproduces the proportions and size
of the classic design on the aisle floor in Chartres
Cathedral.
• The labyrinth incorporates a 20 cm Moebius
strip painted at its centre as a symbol of infinity
and continuity.

Costumes & Props
To create over 260 costumes for Corteo’s cast,
Costume Designer Dominique Lemieux set out
to accentuate the natural beauty of the artists.
• She used more than 900 different fabrics,
concentrating on natural fibres such as silks,
linens, cottons and lace in a subtle colour palette
that includes blues, pinks, fuchsia and gold with
appliquéd spangles and jewels.
• Many of the fabrics were dyed and airbrushed
to give them a patina of age.
• Every show day, 12 to 16 hours of ironing is needed
to prepare the costumes.
• There are 40 angels in Corteo and 4 types of angels:
Arc Angels, Little Angels, Grand Angels and
Auguste Angels.
• The smallest shoe size in the show is a children’s
size 3 and the largest is an 18 EEE.
Acrobatic & Rigging Material
Corteo features a variety of innovative acrobatic
equipment elements that were invented at Cirque du
Soleil and designed to mesh seamlessly with the set
design.
• The “Paradise” act brings together two circus skills
that have never been combined before: the Korean
Cradle and the Tramponet (a combination of
trampoline and safety net). The artists are thrown
between three Korean Cradle stations placed at
an unprecedented distance from each other, and
rebound off the Tramponet, which is 30 m long.
• The “Tournik” consist of a steel frame and twin
high bars mounted on the stage turntables.
• The “Lustres” are giant chandeliers that float in
mid-air above the stage. They are decorated with
some 4,000 sparkling “jewels” and garlands of
reflective acrylic spheres.
• There are three custom-built ladders in the show,
each designed to meet a different acrobatic
demand. They include a bungee ladder and a
tall ladder which is almost 4.5 m high.

Creators’ Biographies
GUY LALIBERTÉ
GUIDE AND FOUNDER
Guy Laliberté was born in Quebec City in 1959. An accordionist,
stilt-walker and fire-eater, he founded Quebec’s first internationally
renowned circus with the support of a small group of accomplices.
A bold visionary, Guy Laliberté recognized and cultivated the talents
of the street performers from the Fête foraine of Baie-Saint-Paul and
created Cirque du Soleil in 1984.
Guy Laliberté was the first to orchestrate the marriage of cultures and
artistic and acrobatic disciplines that is the hallmark of Cirque du Soleil.
Since 1984, he has guided the creative team through the creation of
every show and contributed to elevating the circus arts to the level
of the great artistic disciplines.
Cirque du Soleil has become an international organization, as much
in terms of its makeup as in the scope of its activities and influence.
Guy Laliberté now heads an organization with activities on five continents.
In October 2007, Guy Laliberté entered into a second lifetime
commitment by creating ONE DROP to fight poverty around the world
by providing sustainable access to safe water. This new dream stems
from the knowledge that the right to water is key to the survival of
individuals and communities all over the world and from the values
which have been at the heart of Cirque du Soleil since its inception:
the belief that life gives back what you have given and even the
smallest gesture will make a difference.
In September 2009, Guy Laliberté became the first Canadian private
space explorer. His mission was dedicated to raising awareness of water
issues facing humankind on planet Earth. Under the theme Moving Stars
and Earth for Water, this first Poetic Social Mission in space aimed at
touching people through an artistic approach: a special 120-minute
webcast program featuring various artistic performances unfolding
in 14 cities on 5 continents, including the International Space Station.
Awards and distinctions
Université Laval (Quebec) awarded an honourary doctorate to
Guy Laliberté in 2008. The year before, Guy Laliberté was award
the Ernst & Young Entrepreneur of the Year award for all three levels:
Quebec, Canada and international. In 2004, he received the Order
of Canada, the highest distinction in the country, from the Governor
General of Canada. The same year, he was recognized by Time Magazine
as one of the 100 most influential people in the world. In 2003, he
was honoured by the Condé Nast Group as part of the Never Follow
Program, a tribute to creators and innovators. In 2001, he was named
a Great Montrealer by the Académie des Grands Montréalais. In 1997,
Guy Laliberté received the Ordre National du Québec, the highest
distinction awarded by the Government of Quebec.

DANIELE FINZI PASCA
CREATOR AND DIRECTOR
For Daniele Finzi Pasca, Corteo represents a kind of full circle, a bringing
together of all the threads of his professional career. As a young man
growing up in Switzerland, he was a competitive gymnast. He went on to
work in the circus, and eventually established a reputation in theatre as a
writer and director.
Daniele was born into a family of photographers. “Then my mother
became a painter,” he says. “I grew up surrounded by images and
imagery. And I put them into motion.”
Perhaps the most formative event in his life was a trip he took to India,
where he worked as a volunteer looking after terminally ill patients. On
his return to Switzerland, he founded a company called Sunil’s Clowns,
which changed its name to Teatro Sunil in 1986. Teatro Sunil is still
“home,” but Daniele also travels the world, with his own productions
and as a guest director with other theatre and circus companies.
A prolific writer, Daniele does not restrict his creative output to the
stage. He has also published Come acqua allo specchio, a collection
of short stories. (The show Passo Migratore is based on one of the
stories from this collection).
Daniele’s lifelong fascination with clowns and clowning took root at
the famed Circus Nock, where he performed in an acrobatic clown
number. He has since developed a personal approach to the tradition
which he has presented in courses and workshops for companies and
organizations all over the world, including Canada’s National Circus
School and Cirque du Soleil. He also directed the highly-acclaimed
Cirque Eloize shows Nomade - La nuit le ciel est plus grand et
Rain - Comme une pluie dans tes yeux.
Corteo is inspired by the death and funeral of a clown, and draws on
a clown figure from a past long before the existence of circus—a time
when clowns were not the stereotypes we know now, but far more
complex characters. Daniele says the show is “situated at a strange
level between heaven and earth, where the gods and humans can
interact through the medium of circus.”
The show’s environment takes its inspiration from many architectural
sources, especially Chartres cathedral and its labyrinth, which
symbolizes the journey of life for Daniele Finzi Pasca. “The labyrinth is
a great voyage: To find yourself, you have to lose yourself,” he explains.
Daniele Finzi Pasca was born in Lugano, Switzerland.

LINE TREMBLAY
DIRECTOR OF CREATION
Line Tremblay has worked in the creative world of Cirque du Soleil
since the foundation of the company in 1984.
Before joining Cirque, Line worked in film and television, notably as
an sssistant director at Radio-Canada. Starting in 1992, she worked as
Franco Dragone’s assistant in the creation of the Cirque du Soleil shows
Mystère, Alegría, Quidam, “O” and La Nouba. She was also the Artistic
Director of Quidam. Her close working relationship with Franco gave
her an insight into the inner workings of show direction.
A newcomer to the equestrian field, Line worked with Gilles Ste-Croix
as his assistant in the creation of the 2000 show Cheval Théâtre. She
worked with Franco Dragone once again in the creation of the Celine
Dion show A New Day. She returned to Cirque du Soleil in 2003 to work
on Corteo as the first woman in Cirque’s history to occupy the position
of Director of Creation.
The Director of Creation’s job is to produce a synergy and create an
atmosphere of unity in the creative team. Line also took part in the
recruiting of the team, which includes several first-timers at Cirque, and
she played an active role in the casting of the artists. With the creative
team in place, Line oversaw the meshing of each member’s individual
artistic approach with the overall creative philosophy of Cirque du Soleil.
Line first fell in love with Cirque du Soleil in 1984, drawn by its
freewheeling spirit, a spirit she says has never gone away. “When I
was a kid I wasn’t crazy about the circus. But I discovered the childlike
wonder of it in 1984. For me, the circus is the most complete art form.
It addresses the audience on the visual, emotional and physical level
all at the same time. I have become a child of the circus. I was destined
to a life in this milieu.”
Line Tremblay was born in Hull, Canada.

JEAN RABASSE
SET DESIGNER
Oscar nominee and César winner Jean Rabasse has worked extensively
in dance, theatre and cinema as a set designer and decorator. He has
been the resident designer for Philippe Découflé’s dance company,
DCA, for more than ten years.
Jean was nominated for an Academy Award and won the César for his
sumptuous, elaborate designs for the 2001 film Vatel. His other film
credits include Astérix, directed by Claude Zidi, The Dreamers, directed
by Bernardo Bertolucci, La Cité des enfants perdus and Delicatessen
directed by Caro and Jeunet, and Norman Jewison’s The Statement.
Almost simultaneously, Jean Rabasse designed two Cirque du Soleil
productions: Corteo and The Beatles LOVE for the Mirage Hotel in
Las Vegas. He says he never likes to do the same thing twice. “I like to
mix things up. My signature is to pay very close attention to the details,
the colours, the surfaces, the textures. To be very meticulous about
these things, and to never repeat myself.”
For Corteo, Jean Rabasse and Director Daniele Finzi Pasca decided to
divide the rotating stage in two, with half the audience facing the other
half, so they would be able to see the performance but also have the
performers’ point of view of the audience beyond.
“My basic concept for the show is that the audience is entering a
theatre where the same circus has been playing for 200 years,” explains
Jean. “I love this idea because it allows me to mix up all kinds of styles
from the baroque to the modern. But the last thing we wanted to do
was recreate a kitschy old-fashioned circus, because we must have the
modernity and youth of Cirque’s acrobatics and high technology, which
really doesn’t exist anywhere else.”
Jean Rabasse was born in Tlemcen, Algeria.

DOMINIQUE LEMIEUX
COSTUME DESIGNER
Dominique Lemieux designed the costumes for all Cirque du Soleil
productions between 1989 and 1998. Every single show she has worked
on—We Reinvent the Circus (1989), Nouvelle Expérience (1990),
Saltimbanco (1992), Mystère (1993), Alegría (1994), Quidam (1996),
“O”, La Nouba (1998), Corteo (2005), ZAIA (2008) and Banana Shpeel
(2009)—bears her unique imprint.
As a costume designer, Dominique does a lot more than simply
outfit the artists. Her designs play a key role in creating the fantastic
characters that populate the Cirque du Soleil universe.
With an expert eye, Dominique weaves colours, patterns and fabrics
into fabulous costumes. But her choice of material is not strictly guided
by aesthetic considerations alone. For Dominique, determining how
fibres react to skin, movement, fire or water is of vital importance,
and she never loses sight of the artists’ needs.
Dominique’s passion for drawing started at an early age and led her
to study Fine Arts at Concordia University. After earning her degree,
she worked as an art designer and children’s book illustrator. She later
enrolled in the scenography program at Canada’s National Theatre
School (NTS), where the courses she took in drawing and costume
design took her career in a whole new direction.
To create the costumes for Corteo, Dominique Lemieux wanted to
accentuate the natural beauty of the artists. “The show’s theatrical
approach distinguishes it from all previous Cirque du Soleil shows,”
she explains. “We are closer to traditional circus, in which the humanity
of the artists is revealed. That translated into costumes that resemble
regular street clothes.”
Dominique Lemieux was born in Montreal, Canada.

DEBRA BROWN
CHOREOGRAPHER
A virtuoso in the emotion of movement, choreographer Debra Brown,
former gymnast–turned-dancer is world-renowned for her unique
choreographies blending acrobatics and dance.
In 1986, at a friend’s suggestion, Debra snuck into the Cirque du Soleil
Grand Chapiteau during the intermission to catch the second half of
a show. Captivated by what she saw, she discovered many parallels
between Cirque’s artistic approach and her own. The following year,
she joined the troupe as a choreographer for We Reinvent the Circus
and went on to choreograph the shows Nouvelle Expérience, Saltimbanco,
Alegría, Mystère, Quidam, “O”, La Nouba, Corteo, one act in Zumanity
and ZED. Following Corteo, she created a cabaret-style show called
Line One for her own company.
Ever keen to diversify and reinvent, Debra continued forging her
impressive and unconventional creative path, working with artists and
groups from a wide variety of disciplines. At the 1990 Festival Mondial
du Cirque de Demain in Paris, her work with a group of contortionists—
showcasing her famous “quadruped choreography” in which four
people become a vehicle—won her the Soviet Press Award for Most
Outstanding Choreographer. She also choreographed John Corigliano’s
opera The Ghosts of Versailles, for the world premiere presented at
the Metropolitan Opera in New York and Wagner’s Ring cycle, put
on by the Lyric Opera of Chicago. In 1995, she worked with Luciano
Pavarotti on the Metropolitan Opera’s production of La Fille du Régiment
(The Daughter of the Regiment) in New York.
At the height of her international fame, Debra set her sights on the
world of rock music, choreographing Aerosmith’s Jaded video and
energetic performance for the American Music Awards in 2001, as well
as Madonna’s Drowned world tour the same year. Debra has also worked
with major musical acts such as Shakira and Wyclef Jean (2006 World
Cup Soccer finals), Celine Dion and Madonna, and her film work includes
Catwoman, Van Helsing and Barney’s Great Adventure.
Over the years, Debra has picked up numerous prizes and awards.
At the 14th Bob Fosse Awards in Los Angeles in 1997, she received the
Innovative Choreography Award in honour of her exceptional contribution
to choreography and dance. In 2002, she received an Emmy for her
choreography of an act created by Cirque du Soleil for the Academy Awards.
Debra Brown was born in Brantford, Canada.

JEAN-FRANCOIS COTE
COMPOSER
PHILIPPE LEDUC
COMPOSER AND
MUSICAL DIRECTOR
A self-taught keyboard player, composer and prolific electronic
musician since the 1980s, Jean-François Côté is very active on the
LA music scene. He has also worked with many of Quebec’s leading
singers and trailblazing groups. He is known for mixing existing styles
seamlessly with electronic music to invent new forms.
Jean-François was a promising hockey player as an adolescent, but
he discovered his true calling at the age of 16 when he started playing
keyboards with rock and soul groups on the Montreal music scene,
developing sounds and a style that were uniquely his own. At the
same age he got a job as a security guard for the very first Cirque du
Soleil show. “At night,” he recalls, “I would sneak behind René Dupéré’s
keyboard to make music and polish my technique.”
Years later, Jean-François was playing keyboards for singer Julie
Masse and was noticed by Cirque du Soleil composer Benoit Jutras.
That encounter led to his first formal association with the company
as Musical Director and Conductor for Cirque shows “O” and Mystère.
He also created the sound design for the Taiko drum sequence in the
Cirque Imax film Journey of Man.
Jean-François says Cirque is one of the most stimulating environments
in which to work as a composer. “ In spite of its size, Cirque has
remained true to its primary vocation: the creation of quality shows.
The liberty they give to the creators is unequalled.”
Jean-François Côté was born in Montreal, Canada.
Composer, arranger and conductor Philippe Leduc describes himself
as a workaholic, and that is borne out by the sheer volume of his work.
His compositions and arrangements have literally been part of the
background music of daily life in Quebec since the early 1980s.
Philippe has been in demand as a composer of advertising jingles for
a wide variety of national and international accounts. But as prolific as
he has been for commercial clients, he has always made time for his
own compositions.
Philippe describes his orchestral score for Corteo as “very visceral
music,” but he is quick to add that there are many ethereal passages
and passionate moments, too.
“I started with the physical,” he says. “There is a relationship between the
movements of the performers and the music. In a very broad sense, the
music is operatic. I’m trying to stretch the musical spectrum at Cirque.”
Philippe sees Corteo as a show full of contrasts and musical moods,
from solo guitar to an imposing orchestral presence. “It’s very beautiful
at the end,” he says, “but along the way it’s funny, too. There are surprises
and laughter around every corner. There are medieval influences with
ancient instruments and traces of the 1930s but it’s all very current music.”
Philippe Leduc was born in Montreal, Canada.

MARIA BONZANIGO
COMPOSER AND
MUSICAL DIRECTOR
MARTIN LABRECQUE
LIGHTING DESIGNER
Maria Bonzanigo has worked closely with Corteo Director
Daniele Finzi Pasca since joining his company Teatro Sunil in 1984 (before
it was even known by that name). Her music has been integral to many of
the Sunil’s best-known shows, including Te Amo and Tres Tristes Tangos.
Maria has also appeared in Sunil productions as an actress and dancer, and
has worked as a director and choreographer too, for her own music and
for other composers’ works.
“Working with Daniele Finzi Pasca for more than 20 years, we created a
language together,” says Maria. “A way to communicate intimately with
the audience and the music is an integral part of that language.”
For Corteo, Maria Bonzanigo is sharing the duties of composer with
Philippe Leduc. She has been concentrating on the portion of the music
that is performed by the artists in the show, while Philippe has been
developing the orchestral soundtrack compositions.
“We’re taking artists and acrobats and putting them in a show that is more
theatre than circus,” explains Maria. “The music reflects that theatrical
aspect of the show. The style is a kind of modern/medieval, with African,
Asian and Latin American rhythms. It’s new and simple at the same time.”
Maria Bonzanigo was born in Lausanne, Switzerland.
Martin’s professional credits include around 100 theatrical productions. He
made his debut at Cirque du Soleil with Corteo in 2005 which he followed
with KOOZA in 2007 and more recently Viva ELVIS.
Before coming to Cirque du Soleil, Martin Labrecque created the lighting
for two acclaimed circus shows produced by Cirque Eloize, Rain and
Nomade, directed by Daniele Finzi Pasca.
Martin is therefore familiar with Daniele Finzi Pasca’s humanist and poetic
world view, and that’s why he is seeking to bring out the emotional
dimension of Corteo through his lighting. “My first intention is to highlight
the emotion—the subtext—of the show,” he says.
In a subtle balance of traditional techniques and modern overtones, Martin’s
design evokes the ambience of a more traditional circus combined with a
playful contemporary spirit.
“I’m using chandeliers, footlights and flashlights in a panoply of isolated
lighting effects to create an intimate atmosphere for the show,” he explains.
“And I’m using lateral lighting as the basis of the concept. That’s because
the division of the stage in two—which is a first for Cirque du Soleil—more
or less dictates the lighting setup for Corteo.”
Martin Labrecque was born in Montreal, Canada.

JONATHAN DEANS
SOUND DESIGNER
Jonathan Deans, one of the most sought-after sound designers in the
musical theatre world, is the man behind the sound environments of
Corteo. Having created the soundscapes of Saltimbanco, Mystère,
“O”, La Nouba, ZUMANITY, KÀ, The Beatles LOVE, KOOZA, Wintuk,
OVO, CRISS ANGEL Believe and, most recently, Viva ELVIS, Jonathan
finds Cirque’s work-in-progress and team-oriented creative approach
highly stimulating.
At 15, he joined the Royal Shakespeare Company as an actor where his
keen interest in sound began to blend with a theatrical context. Several
years later, after a spell as a sound engineer in the music industry, notably
at Morgan Studios where he brushed shoulders with artists such as
Cat Stevens, Paul Simon and Rick Wakeman, he made his way back to the
theatre via the Royal Opera House, Covent Garden, and later went on to
mix the sound for the musical A Chorus Line. One success soon followed
another and he became the sound mixing engineer for over a dozen
productions including Evita, Cats, Bugsy Malone and The Sound of Music.
Jonathan’s success as a mixing sound engineer led to him being hired
as sound designer on the musical Marilyn. This was followed by work on
other West End shows including Time, Les Misérables, Mutiny, Jean Seberg
and then on Broadway, Ragtime, Fosse, King David, Damn Yankees, Taboo,
Brooklyn, Lestat, Pirate Queen and Young Frankenstein.
For Jonathan Deans, Cirque’s permanent theatres and its Grand Chapiteau
are two quite different worlds when it comes to sound design. “There are
different technical demands, but as far as the texture and the layering of
the music and sound are concerned, it’s the same,” he says. “My work is
to create a unique environment for every production. And whatever the
environment is, I need to make sure that sonically the audience members
know they are entering a different world.”
The innovative staging of Corteo posed a real challenge for Deans
because the set, the performance space and the audience are split in
two with a 360-degree seating plan. He had to ensure that the general
sound is in perspective to what each section of the audience is
viewing—and that called upon all his skills and experience.
Jonathan Deans was born in England and lives in the New York area.

HUGO GARGIULO
& ANTONIO VERGAMIN
ACTING COACHES
TEATRO SUNIL
DOLORES HEREDIA
DRAMATURGICAL ANALYST
TEATRO SUNIL
Acting Coaches Hugo Gargiulo and Antonio Vergamini come to Corteo
from Teatro Sunil, the theatre and dance company founded by the
show’s Director, Daniele Finzi Pasca in Switzerland in 1983.
Motivated by a deep commitment to humanitarian principles,
Daniele has placed the tragicomic figure of the clown at the core of
Teatro Sunil’s productions such as Rituale, Icaro, Aittestás, Visitatio,
Te Amo and Tres Tristes Tangos to express a broad range of human
experiences and emotions. He has called Sunil’s emphasis on sensitivity
and the sense of touch “the theatre of caress.”
Hugo Gargiulo and Antonio Vergamini have been key members of
the Sunil creative team as actors and directors for many years and
have been working closely with all the artists of Corteo (including
the musicians) to develop their acting skills and introduce them to
the world of the clown.
“Our challenge was to bring out the fragile side of the acrobats,”
says Hugo, “as they are more used to putting the spotlight on their
strength.”
Working with a large cast has given the two coaches the opportunity
to finally realize artistic dreams they have held for a long time. However,
many of the artists they work with have never acted before. “Their lack
of experience is a challenge,” admits Antonio. “But it also means they
are more generous and ready to be open. Above all, our challenge was
to bring out the fragile side of the acrobats. We would like each artist
to contribute something unique.”
Asked to describe the show, Hugo says there will be many dream-like
images and a great deal of humanity on stage. “The artists will not
be hidden by their makeup or their costumes, they will be presenting
themselves to the audience,” he adds. “We wanted the audience to see
in their faces the children they once were and the old people they will
become.”
Hugo Gariulo was born in Uruguay.
Dolores Heredia was born in Mexico.
Antonio Vergamini was born in Italy.

DANNY ZEN
ACROBATIC RIGGING
DESIGNER
Danny Zen first arrived at Cirque du Soleil in 1990 to work as a welder
in the company’s workshops.
Danny went on the first European tour of Cirque Réinventé in 1990,
then moved on to Nouvelle Expérience ,the first show he worked on
as a rigger. He toured with Saltimbanco in 1992 as a tent technician.
He was chief rigger for Quidam in 1996 and, as head technician for
Cirque’s Creation Studio, he contributed his expertise to the creation
of Alegría, Mystère, Quidam, Dralion, Varekai, “O”, La Nouba and KÀ.
Because he is involved in the design and creation of the equipment
in Corteo, Danny Zen sees the work of the rigger as more than
mechanical. “It is creative in its own way,” he says. “We have to work
closely with the set designer to create new equipment—such as the
lustre—which are acrobatic devices and at the same time, set elements.
That calls for a marriage between technological requirements and
the artistic demands of the show.
Danny is constantly aware of the need for safety as the first priority
for any piece of equipment or set element used by the artists and
has worked to develop the safety standards in use throughout
Cirque’s productions. He has also been active in the training of all
riggers for the company. “The riggers are the people closest to the
artists,” he explains. “They’ve got the artists’ lives in their hands.”

NATHALIE GAGNÉ
MAKEUP DESIGNER
Makeup Designer Nathalie Gagné has been fascinated by makeup and
its influence on the actor’s craft since her teens. She studied theatre
production at Cégep de Saint-Hyacinthe, a community college in
Quebec, then went on to become one of the first graduates of the
Montreal subsidiary of the famed Paris-based makeup school École
Christian Chauveau.
Before joining Cirque du Soleil, Nathalie worked in theatre, film and
television.
Since Cirque performers have to apply their own makeup, Nathalie
involves them in the actual creation of their onstage look. “Unlike actors,
acrobats aren’t used to studying their own faces,” she says. “One of my
goals is to get them to do just that, and help them find within themselves
what I call ‘lines of force’ that will serve to build their characters.”
“Makeup is a reflection of the character’s soul. It’s also a magic wand
that sweeps away inhibitions,” says Nathalie, who since 1995 has
crafted more than 1,000 makeup designs for Cirque, choosing her final
concepts from over 5,000 sketches.
Nathalie is also responsible for ensuring the integrity of all makeup
designs that bear her signature. Since the performers apply their own
makeup, workshops in makeup techniques are now part of the general
training provided to Cirque du Soleil artists. Nathalie first teaches
performers how to do their own makeup, and then writes a step-by-step
application guide for each of them.
Nathalie introduced new makeup concepts to the shows Mystère, Alegría
and Saltimbanco, which led her to work with Director Franco Dragone
and Costume Designer Dominique Lemieux. Following her work on
Quidam, “O”, La Nouba, Varekai, Zumanity, KÀ, Corteo, DELIRIUM, LOVE,
ZAIA and CRISS ANGEL Believe, Nathalie added a 15th contribution to
the creation of a Cirque du Soleil show with Viva ELVIS.
Nathalie Gagné took an entirely different approach to create the urban/
romantic characters in Corteo. “I had to delve into the emotions of
the artists, to find their true nature,” she explains. “We didn’t created
fictional characters as we did for all previous shows. For Corteo, the
characters emerged from the artists’ own faces, thanks to the makeup.”
This methodology corresponds to the humanist approach taken by
the show’s director, Daniele Finzi Pasca, especially when it involves
the clowns. “According to Daniele, most children are afraid of clowns,”
says Nathalie. “But children will want to hug the clowns in Corteo.”

Fast Facts
The Show:
• Corteo first premiered in Montreal in 2005. Since then
the show has visited more than 38 cities in more than
7 different countries around the world.
• Corteo celebrated its 1,000th performance in
January 2008 in San Diego, USA; its 1,500 th in
June 2009 in Nagoya, Japan; and its 2,000 th
performance in Kazan, Russia, in September 2010.
• As with all Cirque du Soleil productions,
no animals perform in Corteo.
• More than 6.5 million people have been enthralled
by the world of Corteo*.
Cast and Crew:
The cast and crew is an international one, representing
the following 28 nationalities (the cast is from the
20 countries indicated in bold): Argentina, Armenia,
Australia, Belarus, Belgium, Brazil, Canada, China,
France, Germany, Ireland, Italy, Japan, Kazakhstan,
Netherlands, Poland, Portugal, Romania, Russia,
Singapore, Slovak, Spain, Sweden, Ukraine, Uzbekistan,
United Kingdom and United States.
• Although you will generally hear French and English
spoken on-site, many other languages are spoken:
Italian, Portuguese, Russian and more.
• About 160 employees travel with the tour
(including 62 performers).
• The tour relies on local suppliers for many essentials
such as food, bio-diesel fuel, dry ice, machinery,
food & beverages for patrons, banks, delivery
services, recycling, and waste management—thereby
injecting significant money into the local economy.
• During an engagement in a city, over 150 people
are hired locally for a variety of jobs including ticket
takers, ushers, janitors, receptionists, etc.
• The kitchen employs 1 kitchen manager and 3 cooks.
• Two performance medicine people (1 physiotherapist
and 1 therapist) travel with the tour.

Village on Wheels
Cirque du Soleil’s mobile village includes the Grand Chapiteau (Big Top), one large entrance tent, artistic tent, box office,
kitchen, school, offices, warehouses and more. Completely self-sufficient for electrical power, the site relies only on a
local water supply and telecommunication facilities to support its infrastructure.
A marvel on its own, Cirque du Soleil has three other such “villages on wheels” currently touring: OVO, TOTEM and Varekai.
The Site
• The site takes 8 days to set up and 3 days
to deconstruct, including the installation of the
Grand Chapiteau, the Tapis Rouge tent, entrance
and artistic tents, box office, administrative offices,
and a kitchen and dining area for the cast and crew.
• A total of 65 trucks are needed to transport over
1,200 tons of equipment that Corteo carries around.
A few of these trucks are used during the season as
storage spaces, kitchen and workshops.
• 2 to 3 generators provide electricity to
the Grand Chapiteau and the entire set-up.
• The Grand Chapiteau, the artistic tent and the
Tapis Rouge tent are entirely climate-controlled.
The Grand Chapiteau
• Conceived by a team of Canadian engineers,
the canvas was produced by a French company
who specializes in sails and big tops:
Les Voileries du Sud-Ouest.
• The canvas for the tent and its 11 tunnels weigh
approximately 5,227 kg.
• The Grand Chapiteau stands 66 feet high, 167 feet
in diameter and is supported by four masts, each
80 feet tall.
• The Grand Chapiteau seats more than 2,600 people
and requires a team of approximately 80 people
to raise it.
The Entrance Tent
• A large entrance tent holds the merchandise,
food and beverage counters.
The Tapis Rouge Tent
• The Tapis Rouge tent hosts up to 250 guests
and is available for private functions.
The Artistic Tent
• The artistic tent includes a wardrobe area,
dressing rooms, a fully equipped training area
and a physiotherapy room.
The Kitchen
• The kitchen is the heart of the village—not only does
it serve between 200 to 250 meals per day, six days
a week—but it is also the meeting place for cast and
crew alike.

Cirque du Soleil at a Glance
From a group of 20 street performers at its
beginnings in 1984, Cirque du Soleil is a major
Quebec-based organization providing high-quality
artistic entertainment. The company has 5,000
employees, including more than 1,300 artists from
more than 50 different countries.
Cirque du Soleil has brought wonder and delight
to more than 100 million spectators in more than
300 cities on six continents. Cirque du Soleil
International Headquarters are in Montreal, Canada.
The Creation of Cirque du Soleil
It all started in Baie-Saint-Paul, a small town near
Quebec City, in Canada. There, in the early 1980s,
a band of colourful characters roamed the streets,
striding on stilts, juggling, dancing, breathing fire
and playing music. They were Les Échassiers de
Baie-Saint-Paul (the Baie-Saint-Paul Stiltwalkers),
a street theatre group founded by Gilles Ste-Croix.
Already, the townsfolk were impressed and
intrigued by the young performers – who included
one Guy Laliberté who became founder of
Cirque du Soleil.
The troupe went on to found Le Club des talons hauts
(the High Heels Club), and then, in 1982, organized
La Fête foraine de Baie-Saint-Paul, a cultural event
in which street performers from all over met to
exchange ideas and enliven the streets of the town
for a few days. La Fête foraine was repeated in 1983
and 1984. Le Club des talons hauts attracted notice,
and Guy Laliberté, Gilles Ste-Croix and their cronies
began to cherish a crazy dream: to create a Quebec
circus and take the troupe travelling around the world.
In 1984, Quebec City was celebrating the
450th anniversary of Canada’s discovery by
Jacques Cartier, and they needed a show that
would carry the festivities out across the province.
Guy Laliberté presented a proposal for a show called
Cirque du Soleil (Circus of the Sun), and succeeded
in convincing the organizers. And Cirque du Soleil
hasn’t stopped since!
A few statistics
• In 1984, 73 people worked for Cirque du Soleil.
Today, the business has 5,000 employees
worldwide, including more than 1,400 artists.
• At the Montreal International Headquarters
alone, there are close to 2,000 employees.
• Cirque’s employees and artists represent
close to 50 nationalities and speak 25 different
languages.
• Since 1984, Cirque du Soleil’s touring shows
have visited over 300 cities around the world.
• More than 100 million spectators have seen
a Cirque du Soleil show since 1984.
• Close to 15 million people will have seen
a Cirque du Soleil show in 2011.
• Cirque du Soleil hasn’t received any grants
from the public or private sectors since 1992.

In 2011, Cirque du Soleil
will present 22 different
shows around the world.
North America
TOURING SHOWS IN ARENAS
Asia-Pacific/Europe North America/Europe
TOURING SHOWS
UNDER THE BIG TOP
North America Premieres October 2011
North America
Asia/South America
Europe Japan
North America/Mexico North America

Treasure Island
in Las Vegas
MGM Grand
in Las Vegas
Cirque du Soleil Theatre
in Tokyo
Bellagio
in Las Vegas
The Mirage
in Las Vegas
The Venetian
Macao-Resort-Hotel
in Macau SAR, China
RESIDENT SHOWS
New York-New York
Hotel & Casino
in Las Vegas
TM Luxor
in Las Vegas
Radio City Music Hall
in New York City
Walt Disney World ® Resort
in Orlando
ARIA Resort & Casino
at CityCenter,
in Las Vegas
Premieres Fall 2011
at Kodak Theatre
in Los Angeles
The trademarks Cirque du Soleil, Saltimbanco, Alegría, Mystère, Quidam, La Nouba, “O”, Dralion, OVO, Zumanity, The Sensual Side of Cirque du Soleil, KÀ, Corteo, KOOZA, Varekai and TOTEM are owned by Cirque du Soleil and used under license.
The trademark LOVE is owned by The Cirque Apple Creation Partnership and used under license. The trademark The Beatles is owned by Apple Corps Limited. The trademarks CRISS ANGEL and Believe are owned by Criss Angel and used under license.
Viva ELVIS is a trademark owned by Elvis Presley Enterprises, Inc. © The Cirque EPE Partnership. Elvis name and likeness used under license.

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