BEHIND THE CURTAIN OF KURIOS | Cirque du Soleil

this show is very happy we wanted to put on a show we are very optimistic that would encourage the audience I wanted to celebrate the big top I spent a lot of time around the Chevy looking at it I thought it was like a steel antenna so I started dreaming about the history of Chios and I thought, "Okay, there is a scientific man who has invented a machine to go to another dimension," and then I thought that the mysterious energy for this machine would be electricity, so I started researching electricity. I discovered that it was invented in the 19th century.

I was in love with that time because many things were invented to bring people together and connect them. It is similar to our era with the Internet on mobile phones. It was important for me to have characters that are amazing with the mecha Dino Katya Michael cosmos it's important that people fall in love with those characters and almost like something special that she has, the timeless Hollywood presence, Michael's costume gasps more is a great character piece, one part is attached to my back and the other part is removable so we can hold Antonina inside the costume like she's pregnant with a 50-pound baby because to me it's a big part of our show.

I think there are 3000 pieces that travel if a new artist comes. Of course, he will go to Montreal before you get to the tour and he will have this suit trying on there and stuff, but if we have something to fix, something to fix, it is done here, we have good technologies, like body scanning, now for that we can generate the measures. of the artists but there are many things that are still done only with a machine like that or by hand and you can feel that I like to say that every day is a missile, it is like Fashion Week and the same with makeup it takes two . hours to apply a makeup is a transformation samos and meditation that makeup as you can see there are many lines you are going to make my face look much more elastic even if you are 50 feet away you can see when I am I am happy sad angry the first time I did it after two and a half hours I didn't finish the makeup but now normally every day I would say 45 minutes and this is the most difficult part of this makeup, the eyes and now I know my face.

I know one eye is smaller than the other, so I know where to draw the lines to try to look a little cool. You discover a lot about yourself through your makeup. You need to look at yourself in the mirror for about an hour so this the powder makes the makeup stick to your face that's why we can run jump on the net sweat like crazy the makeup now not the secret touch there are like little screws to fix every part of the skin if you look here so I just moved a little bit and everything will be crazy, it's time to prepare five minutes out of five to go to inspiration.

They told me there was a problem with a flying trapeze net at Zarkana, so they sent some engineers to look at it and that got them thinking, what if? We take this problem and amplify it. What if we took that inflatable net and made it bouncyer made from a different material that could actually give more bounce? So after they did a lot of research and development, they gave us the acronym and then we had to create an act on it, it's like a giant trampoline for the viewer, but after we have a very slow bounce, it's already different, like I'm trying to jump on it alone, I'll be 1 meter tall. and that's it, I need like six guys on me to push me to do it at 10 meters.

It's like teamwork and not like a single job, you don't season it when you're jumping when you're very high like a station that's all so I'm like I'm going to stain the stage but the net is here I don't see it you have to like the adrenaline even after like I don't know five minute program in which I'm original but at the same time I want to do it and I like to do it even just to work on the network, like six guys working together on the network, that's something you have to understand If you're going to put in a new guy.

I'm sure I'm just working on the network. at recess it has to be falling all the time it's loose, you have to understand the net, our coach was an olympic trampoline and we got on the net and we thought it was ten feet high, maybe it was a couple of feet away and he was terrified, so even for a person like him it's a completely different experience, it's for cardio, like you're out of breath when you finish a number, but you have fun with a crown that's really complicated, uses almost all the equipment automated of our program, that's 15 Isis.

We have some towers, chain motors, winches and then we have a full load cell system, which is that screen in the back where we can monitor all the loads around the store and inside to make sure the net is exactly in the tension. that the artists need to be able to do the show, we have a great evolution from the beginning if you are watching the premiere in my last year and you are looking at the number right now, the capture seconds are completely different, yes, every time, like when you feel comfortable doing stunts at some point and you say "okay", I'll try it and that's a twist, it's cool.

I am very proud of this issue and I am very happy to be able to share something so unique with the world, that is why I wanted to do this work in the first place. You know, I've done a lot of different circus disciplines, but when they offered me this job and said, well, we still don't really know what it is, that's where it was sold because I wanted to do something that explored new territories like this the style of music in

kurios

is someone that collects there are many different styles there is a great presence of electro swing as if you hear a little bit of phulka and waltz, but then you hear an incredibly almost rock and roll style of music with jazz influences.

Cirque de Soleil shows have a live band with live singers and it's super important because the action on stage is never set to a specific moment. My role as a drummer is Basically, we not only support the kind of rhythmic basis of the show, but we also support a lot of the actions that happen in the show. Basically I'm glued to the action on stage, it takes some practice to be able to sing, concentrate on your singing, but at the same time be able to hear what your band leaders are saying and what's really happening behind you you have to pay attention to everyone very concentrated Oh great peaks we are a whole town we travel with everything we build everything we put up the tents and all that We are setting up here in five days, we have 2,000 tons of equipment to install not only the permanent staff who are building the site, but We also have the support of 150 technicians who are locally to help us, basically here we have three tents with capacity for a thousand. two hundred fillets the week before our arrival, we have marching teams that come and mark everything all the time, so the first day we build the art camp, after that we put up the mass of the Big Top, we will raise the mast the next morning , we're ready to get it up, take out the tarp, so this is the last step to put up that campus, that's where the big tent is.

We have to hang everything, our whole show, whatever is hanging from Coppola or whatever, ground support if everything is set up. We have about a day with a full inspection team, talking about every cable, even on top of the big tent. I'm curious, we have a cast and crew of 109, we're at 60% staff, 40% artists. we are from 21 different countries around the world milta to love languages ​​are spoken hello me the so-called license Nakula if they are Athenians a little table Delta mojo balls Gabrielle warm board yes, never marry me I guess what makes this show and the Circus so unique is that we truly bring together people from all over the world for a common goal.

It was something beautiful the first time I saw the Pastor. Oh, it's a thrill. There is nothing better than what you know because it is a small world that travels. family, the community, this is the country we live in, you know, my name is Paula Miller, I'm curious, I'm a kitchen manager, the main task is to provide food and good service to all the cast and crew, this kitchen It's full for different trucks, it's an amazing setup for a kitchen that packs and shocks all the time, we have all kinds of different nationalities and different diets so you have to combine a different type of food and there would also be a variation in how healthy or how heavy it is, so really your Rory is just To make this happen in the best way possible, we try to focus on what the city or state has available, what's local, what's in season, what It will be nice with the weather and what is actually available and cheaper at that time.

We were at a farmers market. We have some local foods and vegetables whenever we can get local cheeses and Brad's too. We're like a big family, so it's very different from the service in a restaurant or a hotel that doesn't really have that contact. With the client here, we are all one big family, so it is very special. Sunday is when we bring all the kids and all the families, so it's actually a very happy day, they're playing and the whole family. sit together and share a good meal and it's a day where you know all the families are coming so it's nice that you can plan to hang out and have your kids play with each other outside so it's sure to be a big family.

The day is understood today as Oh Sunday, we have your children in the circus, all the children come here and do acrobats in the Cirque du Soleil. Training is part of the daily life that we do in our session, of course, it fits between snacks three times a week, it is not just an activity to do outside of work or to break the routine, daily exercise also helps prevent injuries for so that the artists can always shine on stage we have the artist going through a preventive circuit here so we have eight stations 45 seconds of work with 15 seconds of rest boy and threat and everyone goes through it twice it is a good exercise for the rear abs and frontals I am one of the performance medicine therapists, two of us were responsible for all the medical well-being of the 46 artists and I am with one of our artists, Gabrielle, we are doing a preventative release on the lateral muscles of her hip just to treat to leave them very loose so that when you juggle or any activity, your hips feel free to move. on stage and doing what they do best, we always try to be available to do a lot of preventive work to try to get these artists something before it becomes a problem, as Gabrielle and I have talked about and we've taken a video. juggling to see which type of muscles he uses more than the other, my biggest concern for these artists is that they concentrate because when you have that repetitiveness and you've been doing it for so long and they're so good at it, they have the ability to just having their minds wander because their muscles and their bodies are in tune with doing exactly the same thing every day has to be the best performance, so the chances of being conservative are not always, you know, I'll just take two weeks to rest, that's not always our reality, so we have to try to find things that we can make work so that the artist improves and the show is also supported, but you know when, but you know that there is nothing less than what you know. and what you know and what you know my name is Nicko I'm from Barcelona the hand puppets come from my mother she was born in a deaf family her father and mother were deaf and she became a puppeteer and developed all these numbers that would come to you well with the hands that she showed me to obtain knowledge of your family and continue.

It is very important and is one of the traditions of the Circus. In fact, we are the only show here in Sur where artists can go. in the tent and we have a complete 12 minute sequence while the people arrive at the tent we can see the characters that are already in the tent about 10 minutes to the side of the show the automation control group I also share it with the man sure we finish to start the wake up, which is the beginning of the show, this happens while the audience is still coming in, let's set the mood and tone for the show five and sir, please, five minutes.

I'll go, I'll go, I'll go, I'll go. I see the attachment that people in the audience have for silk and I say that with a little emotion because we have the privilege of working here to create in this environment to continue this relationship with the audience, there is something magical about those ears.