This is the second and last part of the interview with Director of Creation Carmen Ruest, of Cirque du Soleil. To read part 1, click here.
Cendrine Marrouat: How do you choose the music to fit the mood of a particular show?
Carmen Ruest: Creators start working almost at the same time. So the process of bringing the music in or the costumes or the choreography is all integrated. And the creative process is shared with all the creatives around the table. Each type of artistic creative or the designers bring a "try" and "keep" or "don't keep" element.
It depends on the rhythm of the act. The composer really works with the performers, the coach and the creators. He finds a good beat, a good rhythm and works with the director of the show to set the space of the music.
The flavor of all the songs or words and the colors of costumes and music is the work of all the designers of a show.
CM: So, you work like a family, almost.
CR: Yes, for one show, there are between eight and 13 designers around the table. Now, we have more creatives because the style of shows we do requires the use of images, multimedia, different types of light. Technology is bringing more creatives. But before, with "Alegría," for example, it was more organic. "Saltimbanco" and "Alegría" are really bringing on stage the first roots of the streets. "Delirium" used big technology and multimedia. So when you see "Alegría," you will feel that it is more like a street thing. It is also an homage to street performers.
You have to come to the show 15 to 20 minutes before the beginning, because the performers and musicians play with the crowd. And you don't want to leave before the end of the first part. There is a beautiful surprise.
CM: Regarding "Alegría," why choose the theme of power and monarchies?
CR: In 1994, it was the first time that we were hearing the word "globalization" in the news. At that time, it meant a change in the way the power was used. That's why they decided to have a visual depiction of the changes of powers and the way it is now used in different societies.
For example, the Old Birds represent institutions. Even the set, the dome represent institutional power in society. The Young Ones come from the ground. They jump, they tumble, they come out of the tumbling floor. They want to take the space, they want to challenge the old persons in power. They want to challenge them and take their space in society. Just like the Clowns who don't care about power.
Every time, creators are inspired by what is happening on the planet at that time. They are inspired by their own experience, of course, but also by what is going on.
CM: What's next for you with Cirque du Soleil?
CR: The way we promote arena tours requires a different presence with the media. So I do a lot of that, as a spokesperson. And we just celebrated our 25th anniversary. We needed to talk about the history of the company a lot. So, I did that and will continue to do it.
As we speak, we have new shows in creation and I don't know which one will be for me, yet. But I'm still there representing the company and passing on our history and passion to new people. I'm open to any new creation, but there is nothing confirmed yet.
You do not want to miss "Alegría"! For more information on the show, read "Cirque du Soleil to enchant Canada again."
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Cendrine Marrouat is a writer, published author and translator living in Canada. Official Website: http://www.cendrinemarrouat.com
Comments
Terrific, Cendrine! This interview really puts more depth into understanding Cirque du Soleil!
Thank you, Theodene. I had a blast with Carmen Ruest. She is such a nice lady!
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