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Cirque du soleil industry
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This case study is titled Cirque du Soleil, written by Thomas J. Delong and Vineeta Vijayaraghavan, and it follows the company of Cirque du Soleil, their performers, and their casting director. Cirque du Soleil was originally a group of street performers that formed in 1984, under the name “Le Club des Talons Hauts.” In the beginning, Cirque only had seventy-three members, which boosted to over two thousand members in 2001. In 2001, Cirque du Soleil was playing to almost six million people a year, worldwide. According to the case study, “For most of Cirque’s existence, it was owned and managed equally by two men, Laliberté and Daniel Gautier. Laliberté had responsibility for most of the creative production of the company, and Gautier managed …show more content…
The company has many different artist including: street performers, clowns, acrobats, and gymnasts. All of these talents were used to create a form of theater and drama. The music of Cirque was inspired by the Latin language, and pushed the cultural boundaries during that time. It was in Los Angeles in 1987 and that Cirque du Soleil caught its big break. The company was given funds by the Canadian government to go to the Los Angeles Festival, where they received top billing. According to the text, “One Cirque executive recalled, ‘We gambled everything when we went to California. If we failed to bring in an audience, we were going to have to leave everything there in L.A., because we didn’t have the money even to pack the show up and transport it back’” (Delong and Vijayaraghavan, 2002, p.2). Cirque sold out every show at the festival, and was able to use those funds to tour other American cities. After the American tour, Cirque had enough funds to branch of to Europe and create its first European production. The first feature film for Cirque du Soleil would then be released in 1999, and another production film would be released in 2000. The company opened its first store in 1998, which was located in its permanent theater on the Walt Disney World Resort in …show more content…
The building includes: a fifteen thousand square feet room filled with trampolines and acrobatic equipment, a training room that is over eight thousand square feet, a dance studio, a cafeteria, an outdoor performance area, and a vegetable garden. There were five organization issues the Cirque du Soleil had to take into account, when looking at the bigger picture of the company. The first one had to do with diversification. Both Gagnon and Laliberté discussed diversification as moving into other products with the Cirque brand, including: spas, complex cirques, entertainment complexes. Another organization issue was that more business people were joining the upper levels of the company. Since Cirque was becoming a big business, management was losing the soul of the company. On the other side, since Cirque was a big company, the managers and leaders had to find a way to protect the company’s assets. The third issue was that Cirque had more competition. According to the study, “…Cirque Oz, in Australia, tried to prevent Cirque du Soleil from getting permits. Gagnon commented… “after Cirque du Soleil left, Oz made more money on their next tour. We are still building the market, and it’s better if we don’t all see each other as the enemy’” (Delong and Vijayaraghavan, 2002, p.11). The fourth issue was high ticket prices that started to
The audience is an important factor to determine the success of a spectacle. It is known that there is no spectacle without audience. The musical theater presentations are known for their number of people, which according to the Broadway League (n.d.), the 2013 season reached attendance of 11.57 million. However, the number of spectators has been decreased in comparison with the peak of popularity for musicals in the last century. The first reason for that is that the spectators of musical theater presentations were a more specific group such as wealthy and intellectual people that used to go to this type of presentation, and this pattern has been consistent until now, as it can be seen in the price of a Broadway spectacle that is very expensive. Second, the spectators have to go where the spectacles are set up, which makes the live presenta...
The Alberta Ballet Company, being that it is a registered Canadian not-for-profit organization makes their money through ticket sales (season, individual and group), corporate sponsored performances, donations, government grants and the Alberta Ballet Foundation’s Endowment Fund. This Fund development program includes ongoing fundraising campaigns such as Artist Fund Memberships, Artist Director of Creation, Adopt-A-Dancer and Dance Circle Memberships. They’ve hosted events like Ballet 101 and gotten support for education as well as outreach programs. They have a very solid reputation, attracting both national and international talent to their schools. For graduates, there was a worldwide demand for Alberta Ballet-trained dancers. They have built good relationships with conductors, musicians, choreographers and guest artists,
Evaluating Cooper’s Ice Center’s situation, Claude Cooper is looking to increase his profits. He is doing a few things right. For instance, his hockey program is doing well and is contributing largely to his profits. Along with keeping his hockey program, Cooper should also keep the public skating. While this is not bringing in revenue now, there is a great potential in the program. Over 700 hundred people could attend this event and it would increase revenue in concessions. Their facility is the only ice rink located in the northern city with 450,000 people. This means there is a great market for public skating. Once he figures out how to promote it, he can easily fill his 700 people rink capacity. Cooper also has the right concept for
This week, I could see that it is impossible to understand a performance without knowing its social/ cultural context. At first I watched Jerome Bel’s The Show Must Go On, I found it was experimental. However, Shirtology, Bel’s another performance, was the weirdest and embarrassing piece that I had ever seen. It was a couple of days later when I could comprehend the intention of the video where he changes his shirts for six minutes. He was challenging the capitalistic structure of choreography; he was refusing to adapt to the tastes of the audience. In Cult Plastic, Voaugust says that “his work reveals how deeply we have been socialized and colonized to experience and create performances” (Voaugust, 2017). Artists cast a doubt on the social
The Aspen Falls Triathlon, sponsored by Aspen Falls Parks and Recreation, needs your help to support the annual triathlon. This is your chance to host athletes from all over the world. The following positions are needed:
In Teri Silvio’s article, “Animation: The New Performance?” animation is explored through how it works with performance as a way for a better understanding between the relationship of the self and what characterizes a community of maker from its products, thus “When one turns to performance, one tends to imagine an actor performing on a stage, that is, a character inhabited by a strategic self speaking a text or choosing from a socially agreed upon repertoire” (Silvio) exhibits the questions that arise such as the difference between maker and creation, or does planned actions or improved make a difference in social
recent experience with Disneyland in Paris not to have a too aggressive capital structure in place, they
As humans of the twenty-first century we are comfortable with our routines and tend not to stray away from what we know and for the most part we ignore how obscure some of the tasks can be at times. What happens if you combine everyday life and magic, banality and idealism, work and entertainment all into one? The curious minds that introduced me to this question are known as Gob Squad, a group of seven “bosses” based in Berlin. With influences from mid to late twentieth-century “New theatre” and the events of May 1968, (a turning point in the development of a radical ideology of revolutionary change in education, class, family and literature in France), they search for new ways to combine media and performance. By producing stage shows, interactive
The intention of this performance was to celebrate life at its best and worst moments. Fights and Flights highlights the darkest moments of our lives such as the battles and challenges in which we must face and the physical and mental obstacles that young people are subjected to and overcome. It also explores the brightest moments of our lives that are most satisfying which have lead us to achieve success. I believe that the performance successfully portrayed the concept of battles within ourselves. They achieved this through fights and the moments of freedom in flight throughout the entire show. I found the beginning highlighted the theme of ‘battle’ by using martial art movements and having chaotic fight scenes between dancers. Fights and Flights was compiled of personal stories from the the cast which they shared to create a piece that showcased experiences from their varying ages and life stories. The older and more experienced professional dancers shared their personal stories as they have overcome many challenges ...
The visual effects dramatically contributed to the event which made it second most important performance criteria is. The visual effect is made of lighting, the temperature set, the sound surround system, and the resonance. Great performances are accompanied by good lighting. The event had a good lighting. There was a great distribution between the darkness verses light. The color is also important. It was an amazing cold golden color surrounded by dark. It was lovely and relaxing to the eyes. I did not have to blink hundreds of times protecting my eyes due to bad lighting. My eyes were gorgeously and slowly winking. That rapturous lighting was facilitated by great sound .Surround system is a must in all events that sustains good resonance
The stage is therapeutic to the dancer, enabling them to face the emotional wall of perception, removing the veil to an arranged marriage. The viewer takes this opportunity to stare, like an infant taking in its mother’s face, we become attached. As the dance continues we become emotionally invested in the dancers and the story they tell. We realize, somewhere along the way, we began to see past the disability to see dancers, capable, strong and beautiful. As we stand to applaud we feel joy, not the usual charity, for we understand the dedication involved to rehabilitate our own disability of blindness in
My main role during my work placement with the English National Ballet was to follow and observe the chief electrician, David Richardson, and his team. My placement fell during the company’s technical rehearsal week at the New Wimbledon Theatre for their new production She Said, a triple bill of three new works by three female choreographers. This gave me the opportunity to observe how a large, respected company approaches the creation and presentation of new work and the many different roles needed within such a substantial team of people.
The Lion King musical is a well-known musical that has taken the stages of Broadway, West End and the rest of the world by storm (The Lion King, 1997). Regarding the process of the musical, Artistic Director Julie Taymor’s first thoughts for choosing the Lion King as the next big thing on stage, was classed as ‘impossible’ due to the film’s lack of theatrical material (The Lion King, 1997). Therefore, staging this particular work contained a great deal of uncertainty and the need for taking huge risks. Taymor (1997) suggests how ‘the Lion King was the worst idea possible to create a stage show.’ It has become evident that a number of significant barriers had to be overcome to secure the practicality of the production. In view of this controversy, this dissertation will critically analyse the success of the Lion King by exploring two significant aspects that have helped to make the musical a success. Firstly, the essential components that make up this theatrical production will be explored and secondly, the roles of each producer within the Lion King and their combined and individual influences they have had from the production will be evaluated. By analysing these two central themes, this paper will show how and why this musical has developed and achieved its phenomenal success.
Actors are more than just people who portray dramatic characters on a movie screen, stage, and television. Professional actors tend to make more money than most other careers. Actors bring joy to the people who watch them perform, and take them out of the real world and into the creative world of visual communication. Performers can show more than just joy, they can also bring happiness, sorrow, fear and even comedy. Acting can be a very versatile profession. It is way for many people to refine themselves. Performing is not only about getting into a role but understanding the extent of one’s imagination. There is a lot of preparing that goes into a performance than just reading a few lines. Acting is a paradigm. Acting is very different now compared to when it first started. In todays world acting is a fast growing career and well respected. but over 200 years ago it was not that way.
Despite the innumerable variations in performance pieces a theatre can show, they all have one central goal: to bring together the surrounding community in whatever way possible. The performing arts center may be focusing on culturally relevant pieces, blurring the distinction between art and reality or trying to push the boundaries of the medium. Regardless, the community’s needs are first in this modern environment. Throughout the decades, these centers and their connections to their community morphed according to numerous factors. The technology changes advance the centers into the modern realm while the managers and producers organize new, more efficient ways to bring the arts to their community. This paper will delve into the many facets of an evolution such as this.