#Cirque du soleil volta

[drjohnwatson]

FINALLY made a (full) costume again! This time Ela from Cirque du soleil's Volta. This is just a quick testrun before wearing it next week.

Next up homelander (and some smaller projects). B)

[aquilacalvitium]

A bunch of thoughts that are incomprehensible to people who aren't Cirque Du Soleil fans

Target and Nico have the same energy and would almost definitely be friends

Someone please introduce Aviator from Quidam and Aviator from Kurios to each other, they'd be besties

Klara moves like a clockwork doll and it's mesmerising to watch

You can see Time Master's effects on the flow of time by watching Klara and Microcosmos in the background

This meme I made

I think Gongli (chair balancer from Koozã) would be Carlos' (chair balancer from Kurios) plus one at Klara's dinner parties

Volta's ending is a tad abrupt methinks

Ela is just awesome, everything about her is awesome, I want to be friends with her

Is that other person with blue feathers in Volta another character? Or is he still Waz? It's a bit ambiguous and I'm not good at subtext

Quidam (the character) somehow manages to be somewhat intimidating while also having very strong "safe person" energy

The Seeker suddenly gains two assistants in Creature De Siam that have not existed at all up to this point

They always turn even the singers into characters in the shows and I love that so much

They always manage to do something with the stage itself, from traps doors to a revolving platform to prop tracks and sometimes more than one of the above

I tried learning French so I can understand the characters but it is an evil language and putting myself through that would count as self-torture /j

The wiki refers to the train at the beginning of Kurios as Mister Microcosmos' outfit but he is standing elsewhere on stage when the train comes in so I actually have no idea who that is

Time Master doesn't get enough appreciation, I get that he isn't as merchandise-able as Klara and Nico and Mister Microcosmos but his act, aside from Chaos Troupe 1900, is definitely my favourite

Also the track for his act is not on the ost and that is a crime

Neither is the track that plays between 11h11 and Bella Donna Twist or the track that pays right before Hypnotique

And for some reason Departure is half of the track for Hand Theatre and then suddenly goes into the track before Dangerous Flight? I'm a bit confused there

I've started assigning names to character who don't have names or who's names I can't find anywhere

I refer to them by their actor's names like Carlos and Gongli

If they're a group or I can't find the actor's names I make something up I.e. I refer to the banquine performers in Kurios as The Beachgoers because I mean look at them it's a fitting name

WHY DID THEY RETIRE MICHAEL FROM KOOZÄ HE'S MY FAVOURITE CLOWN IN THE SHOW I WILL FOREVER BE UPSET ABOUT THIS

Also I can't find a single good quality picture of Michael in his grotesque-whiteface-esque costume that he wears for the whole show apart from during his pickpocket routine which is weird

I kinda can't stop staring at Klara or Nico any time they're on stage because their individual styles of body language are just fascinating

How does Quidam (the show) have such specific energy? I can't think of a better word than ethereal. Like it's unsettling but also feels safe and familiar somehow? Idk but I love it

WHY isn't Bella Donna present for the finale? That woman carried so much of Bella Donna Twist and then dips??? Give that woman the standing ovation she deserves!!!

The Quid Pro Quo/Mr Wow Show scene has probably more dialogue than the entirety of most of Cirque Du Soleil shows I've seen

Waz's outfit on Quid Pro Quo is. Something. I really want to know how that was made and what materials were used - this is coming from a guy with ZERO interest in textiles

Actually all of the outfits in Volta are crazy, even the Grays have interesting stuff going on, major props to the costume department

The fourth wall may or may not exist at any given point in time and it's fun to look for it

Especially when there are characters who thrive of off breaking the fourth wall (all clowns) vs characters who never once break the fourth wall (I.e. The Innocent or Ela or the Curios)

I DID NOT MEAN TO HIT POST THAT WAS AN ACCIDENT

I guess if I have any more thoughts I'll just come back and edit this post

[wuwmmdraws]

Redrawtober Day 18: "Harpy's Nest"

Man I miss Volta now....

[env0]

shuffle your favorite playlist and post the first five songs that come up. then copy/paste this ask to your favorite mutuals <3

Ohio is for Lovers - Hawthorne Heights

Dancing Ants - Cirque du Soleil "Volta"

Quixotic - 서자영 Seo Jayeong "Lies of P Soundtrack"

World's End With Me, Live 2004 - Phantasy Star Online

I've Been So Lost for So Long - American Football

[canterai]

Ho appena scoperto che quando ero in toscana ho stretto la mano sudaticcia del fondatore del cirque du soleil che è miliardario, ha due aerei privati e quattro Ferrari, un'isola privata su cui coltiva cannabis, è stato turista spaziale, nel giardino di casa sua ha costruito una pista d'atterraggio di 20 metri per velivoli extraterrestri, è un giocatore accanito di poker, è un filantropo e un ecologista, è uno dei sei uomini al mondo a possedere una barca a vela Zodiac con postazione di atterraggio per elicotteri sulla quale una volta è stato attaccato dai pirati e rapinato da 300000 dollari.

[duanestudentscadetsunlmtd7]

60 - MIN SPECIAL | KURIOS, Quidam & Volta | Cirque du Soleil

[scenariopubblico]

Intervista a Joy Alpuerto Ritter

ENGLISH BELOW

Ex danzatrice della Compagnia di Akram Khan oggi Joy è assistente alle coreografie e ripetiteur nonché coreografa freelance. Nata a Los Angeles e cresciuta a Friburgo in Germania, oggi vive a Berlino. Alcuni giorni fa si è collegata da Londra per incontrarci su Skype. Di mattina, prima di iniziare la giornata di prove, ci ha raccontato della sua storia ripercorrendo il lavoro con Khan arrivando poi alla sua attività di oggi.

Photo by Jean-Louis Fernandez

Ricordi il primo incontro con Akram Khan? Che percezioni hai avuto e come sono cambiate nel tempo?

Penso che il mio primo incontro con Khan non sia stato granché speciale perché, impegnata con una produzione del Cirque du Soleil, non ho potuto partecipare all’audizione ufficiale. La compagnia è stata molto generosa però a offrirmi l’opportunità di fare un’audizione privata con il direttore delle prove Jose Agudo che ha poi mostrato il video a Khan. Quindi, attraverso il video, Khan mi ha scelta e invitata per un suo nuovo progetto nel 2013. È stato strano perché io non lo avevo mai incontrato e la prima volta è successo in Francia per una cena con tutta la compagnia. Lì abbiamo parlato per la prima volta, ricordo in particolare dello spettacolo su Michael Jackson che avevo appena fatto con il Cinque du Soleil.

Nel primissimo periodo ricordo di essermi sentita molto nervosa, ero l’unica nuova nella compagnia quindi Khan conosceva già tutti e mi sentivo sotto esame. Ho imparato tantissimo: il lavoro era molto giocoso con tantissime improvvisazioni, ma anche con tanto materiale coreografico. Khan usava due strade per conoscere al meglio i nostri punti forti ma soprattutto la nostra personalità, un aspetto importante per quel lavoro caratterizzato da diversi personaggi.

Ricordi il nome del progetto?

Era iTMOi (nella mente di Igor). Ciò che mi ha messo alla prova è stata la fisicità del lavoro, le rotazioni, i miei piedi bruciavano al pavimento. Khan chiedeva tantissima energia ed era anche molto sfidante in termini di ritmo. Io non desideravo altro, ero in quella fase in cui stavo imparando e volevo farlo il più possibile. Khan è una persona davvero rispettosa e sa come essere esigente con i suoi danzatori spingendoli sempre al di fuori della loro comfort zone.

Durante i suoi processi creativi collabora con i danzatori?

Dipende dal progetto, per esempio ricordo che abbiamo collaborato per Kaasha e iTMOi e abbiamo anche danzato insieme con lui in Until the lions. Danzare con lui è stupendo. C’era tantissima potenza che riuscivo a cogliere e dare ai suoi pezzi; lui non si aspetta altro che il massimo. Bisogna essere sempre focalizzati sul lavoro senza mai marcare.

Qual è il training quotidiano della compagnia?

Dipende anche qui dal progetto. Solitamente il direttore delle prove si occupava della lezione di riscaldamento e rafforzamento con una lezione di danza contemporanea. Poi danzavamo anche il Kathak – che è la base del lavoro di Khan insieme a un mix di danza tradizionale indiana, danza contemporanea e altri stili di danze folkloriche. Di base si trattava di danza contemporanea o di un altro tipo di training fisico (come lo yoga), poi il Kathak e poi le prove. Il riscaldamento durava più o meno due o tre ore. Il suo è un lavoro davvero corposo e in quel contesto non importava mai quanto si riuscisse a fare in termini di quantità. Ciò che contava era sempre di avere una buona preparazione fisica ed essere pronti per le prove. Alla fine della giornata spesso facevamo anche degli esercizi per migliorare le nostre capacità ritmiche, con pattern ritmici che cantavamo e seguivamo con i passi, spesso molto difficili!

Cosa vuoi trasmette del lavoro della compagnia, soprattutto per coloro che non hanno mai fatto esperienza del lavoro di Khan?

Credo che si debba avere innanzitutto la volontà che ti permette di impegnarti al massimo. Invito tutti coloro che parteciperanno a fidarsi del viaggio che faremo e di permettere a loro stessi di andare a fondo della ricerca e mettendola anche in discussione.

Ciò che importa è la qualità, non conta la quantità di cose che si è in grado di fare. Non importa quanto posso fare ma come posso farlo. Questo vale pe tutto dal movimento più virtuosistico fino al semplice stare in piedi fermi. Il focus è sull’estremità e non su quale movimento mi rende un grande interprete; spingerò molto in questa direzione, perché essere un bravissimo danzatore non significa essere un grande performer e viceversa. Tutto sta nel come si trasmette al pubblico, di certo bisogna avere la tecnica ma non solo. La combinazione dei diversi aspetti è la soluzione! Per questo è importante capire il miglior approccio mentale per danzare, che include sacrificio e impegno. Bisogna anche credere e fidarsi nel percorso che si fa e permettere di andare sempre più a fondo.

Ora che sei anche coreografa, quali esperienze del passato pensi ti abbiano segnato di più?

Il mio background da danzatrice è stato sempre versatile: ho iniziato con la danza classica, poi con la danza folklorica filippina, mia madre mi ha insegnato la danza tradizionale asiatica poi ho studiato danza contemporanea, jazz e hip hop.

Sono sempre stata curiosa, volevo ispirarmi a più stili e ambiti di danza: quello professionale rimanendo legata anche al senso di comunità che ha la danza popolare.

Ciò che porto con me è un mix di stili e penso anche al Kathak di Akram. Da coreografa sto provando a connettere tutto ciò che ho provato nel mio corpo per raggiungere una libertà di espressione personale. Questa modalità mi proviene da Khan che dice sempre: «Trova il tuo modo». Mi ci è voluto un po’ per capirlo.

Un’ultima cosa importante è il lavoro di Khan con diversi personaggi, in Untile the Lions e iTMOi ad esempio. Lui usa storie ma invita ogni volta ogni danzatore a creare la propria.

Photo by Jean-Louis Fernandez

Do you remember your first meeting with Akram Khan? What kind of sensations did you live and how these emotions changed during the time?

I think my encounter was first time quiet not special, because I auditioned a second time. I came from Cirque du Soleil, I couldn’t enjoy the official audition, so the company was generous to make a private audition with the rehearsal director Jose Agudo. I was auditioned with him, and he showed the video of my dance to Akram. Then, through the video, Akram invited me to the first research of a project in 2013. It’s weird because I had never met him in my life, the first time we were in France with all the dancers in a restaurant. We had a private conversation, especially about Michael Jackson Circle du Soleil show. At the beginning with the company, I was nervous because he knew the other dancers already and I was new, it looked like a test. At the beginning dancing was very playful with lots of improvisation, but he also gives a lot of choreographic material, so as both to know our special skills and getting to know our personality especially for that project where there were a different kind of characters. I learned so much!

Do you remember the name of the project?

Yes, iTMOi (In the mind of Igor). What I really was memorized and challenge by was also really grounding physicality and spins; my feet were burning on the floor. This was a special technique that really push you and challenge you also in terms of rhythm. I really wanted that challenge because I was in the phase of learning as much as possible as dancer. He is very respectful, but he really knows how to push people out of their comfort zone.

During his creative process does he collaborate with dancers?

It depends on the project. For example, in the beginning yes for Kaash, iTMOi and we also danced together in Until the lions. Dancing with him was amazing. There was a lot of power that I was able to discover in his pieces, he expects you to really go for it. No marking, you go for it very focused. I really like the balance between be respectful and very challenge.

What is the physical training did you do with him daily?

It depends on the project. At the beginning we had the rehearsal director giving us a warmup, strengthening out the body, in contemporary dance. Than we also dance kathak – which is the base of his work mixed with Indian classical dance, contemporary dance and also other folk dances style. Basically, the training was contemporary dance or different training (as yoga), kathak than we went to rehearsals. It’s around two or three hours. It is a very consistency training, it does not matter how much you tour, the quantity; It is important to have a good base of physical fitness. At the end of the rehearsal, we used to improve our learning and rhythm with different and challenging patterns.

For those who don’t know your work, what is the physical focus that you want to transmit to the dancers?

I think there is some feeling allow to commit. I invite them to trust in the journey and allow yourself to go deep search also questioning. It is important the quality, not even the tricks or to impress but the quality. It is not important the quantity, not what I can do but how I do it. From very virtuous physical movement versus just standing still. The focus is extremities not which movement makes me a great performer. Of course I will push in this direction, because great dancer does not mean great performer and vice versa. It is about how to transmit to the audience and space and of course we have the technique so that combination is the answer. It is important to understand the best mental approach to dance, which involves sacrifice and commitment, you also need to have trust in the journey, and allow yourself to go deep. It’s important the quality, how I do something, either a physical movement or just standing still.

Now as a choreographer what aspects of his work and your past experiences made a sign in your today’s work?

My dancing background has been versatile: I started with ballet, Philippine folk dance, my mum taught me Asian folk dance, then contemporary dance, jazz, and hip hop, I also did hip hop battles! I was always curious, I wanted to be inspired by different styles and fields. Professional of course but also remaining close to the sense of community of the popular dance. As a choreographer I’m trying to connect different styles that I have tried in my body, and I try to achieve the freedom to express through these different styles. It is from Akram: “Find your way”.  You get inspired by different techniques and styles and then make it your own, it took me a while to that. Lastly, another thing is that I like working with characters. I worked with Akram on Until the Lions and iTMOi. He uses stories but he invites every time to make it to your own.

Photo by David Scheinmann

[water7-ebooks]

shuffle your favorite playlist and post the first five songs that come up. then copy/paste this ask to your favorite mutuals <3

thank u love <3 sorry if the selection is batshit

You Can't Kill a Witch - Vertigoaway

DINNER! - femtanyl

The Bee and the Wind - Cirque Du Soleil VOLTA OST

NTR Ending (Cardiac Arrest Due to Overdose) - sewerslvt

Koi Boy - Jack Stauber

[imperium-wealth-management]

60-MINUTE SPECIAL #8 | Cirque du Soleil | CORTEO, VOLTA, TOTEM

90 minutes of excitement and focusing on next sequences of acts.

Music video conversion from past with IMAX and Cirque de Soleil sequences of kpop and background dancers and stage engineering performance and sound expertise.

[delectablywaywardbeard-blog]

Weekend a teatro tra Lino Guanciale e il Cirque du soleil

Dalla prima volta in Italia di “Lazarus” al ritorno di Beppe Grillo, passando per le meraviglie del Cirque du soleil e il XX secolo secondo Lino Guanciale. Sono alcuni degli appuntamenti teatrali in scena nel prossimo weekend.    MILANO – Non solo le indagini televisive del Commissario Ricciardi. Lino Guanciale è in teatro, al Grassi del Piccolo, con “Europeana – Breve storia del XX secolo” di…

[hilaerials]

Went to see Volta today and ahhhhhhh it was so good!! A few people gave me less than stellar reviews, but I honestly don’t see it. The movement quality of this show was downright captivating. I normally don’t take as much notice of the movement choreography on the ground, but I was very impressed and in awe of the performers. Also the lantern act and hair suspension act were even more entrancing than I could have imagined. Everything about the way they stage those two acts, the lighting, the music, the musicality, is just stunning. Those two and the unicycle hand to hand get added to my list of favorite acts (it’s so hard to pick favorites too because everything is so good).

My yearly dose of Cirque is always the best kick in the ass. I have so much to train for and I can’t wait to get right back at it. I’m inspired again to put in the hard work of training diligently so that one day I can create again 😊

[hinakurachan]

Cirque du Soleil: Volta is a treasure and I love it so much. 😭💖

[wuwmmdraws]

Waz triptych - Super Elite / Free / Grey

an homage to both narratives of Volta and Waz’s stages of his life

(Sept. 2020)

[studiokawaii]

Cirquetober day 12: Waz from Volta!

Just loved this show. We always cry with the BMX duo ballet.

[featherwurm]

Waz - after the process of self-realization, getting some well earned rest surrounded by the touch of friends.

[loverofcartoons]

So I just saw Cirque du soleil Volta tonight, and it made me re-realize something about myself. I AM EXTREMELY ATTRACTED TO MEN WHO CAN DANCE I MEAN DAMN