Auteurs : Leroux, Louis Patrick (Auteur)

Lieu de publication : Montréal

Éditeur : Concordia

Date de publication : 2014

Langue : Anglais

Description : [1] p. ; 28 cm

Sujets :
Cirque du Soleil [compagnie de cirque]
Arts du cirque - Québec (Province)
Compagnies de cirque - Québec (Province)

Collection : Bibliothèque de l'École nationale de cirque

Localisation : Dossiers documentaires

Cote : CIRQ-221-SOL

Ex. 1 — disponible

Contenu dans

[Dossiers documentaires] Cirque du Soleil / Direction Laliberte, Guy. 1984

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Dreams of the solo trapeze : offstage with the Cirque du SoleilEnter a world unlike any other, where a dozen languages are spoken and scores of disciplines perfected--or invented; intimate and inscrutable, artistic and athletic, courageous and committed: the private world of the performers in the Cirque du Soleil. Of the hundreds of artists the Cirque employs, none is more fascinating than Olga Sidorova, who ran away from Siberia at age 14 to follow her dream to fly. When Schreiber met her in March, 2002, she inspired his own global odyssey, following the European tour of Saltimbanco., assisting her after knee surgery at the Cirque's training studio in Montreal, even helping a pair of contortionists apartment hunt in Las Vegas. "Dreams of the Solo Trapeze: Offstage with the Cirque du Soleil", is not one book but many: non-fiction novel, biography, cultural history, travel narrative, and love story. Its aim is to discover and pay tribute to these magnificent artists in a manner that reflects the Cirque's own spontaneity, originality and daring. [editor summary]
Cirque du Soleil : Quidam
Fire within 2 : episodes 6-10Fire Within begins eight months prior to opening night when it remains to be seen how the performers, who have come from around world, will survive the enormous physical and emotional demands placed upon them. Throughout the captivating series, cameras document the human experience'the drama and comedy, the victories and setbacks and, above all, the desire to succeed that burns within these extraordinary individuals.

This addictive, Emmy Award-winning series has all the human turmoil of reality television, but the subjects have actual talent--it's a 13-part documentary about the young acrobats of Cirque du Soleil, watching them struggle with the physical rigors and emotional demands of creating a new show (the acclaimed Varekai). Fire Within focuses on eight performers, among them Gareth, a temperamental Brit whose sculpted physique features multiple tattoos; Stella, a young African American trapeze artist who's a bit of a diva; Oleg, a 35-year-old Russian circus professional trying to shift his talents to dance; Olga, a Cirque veteran as a contortionist, being given a starring role in this new show. Skillfully edited, Fire Within follows the performers along the stressful path from auditions to opening. The show gains surprisingly intimate access into their lives, capturing the strength and vulnerability of people whose bodies are their art--and not everyone rises to the challenges they face. [editor summary]
Fascination [Japan 1992]
Epidemiological investigation of injuries in Cirque du SoleilCirque du Soleil's "Mystere" was the focus of this epidemiological investigation into the nature and rate of injury occuffence in the members of the cast. Sixty-two athletes comprised the subject group involved inthe 12-month data collection period. Injury report forms and daily exposure sheets were used to collect data, and data was analyzed using the Microsoft Access relational database program. The rate of injury was found to be 531 injuries per 100 athletes, and 10 injuries per 1000 exposures. Females sustained a higher number of injuries (6.a) than the males (5.0) over the data collection period. The highest number of injuries per performner (6.2) was sustained in the trapeze act, while the lowest number of injuries per performer (2.4) was sustained in the Chinese poles act. Fifty-one percent of the injuries occurred during show performance, 9.7% were sustained during training, and 33 % occurred over a period of time (gradual onset). The act affected most by injury during show performance was the teeterboard act, followed by the trapeze act, while the act affected least by injury was the manipulation act. The body part affected most by acute injury was the ankle, followed by the low back, neck, shoulder, and the knee. The body part affected most by overuse injuries was the shoulder, followed by the low back, knee, lower leg and hip/buttock. The most common injury types were sprains, strains, tendinitis, and contusions respectively. The act that resulted in the highest number of injuries was the teeterboard act (101). Mechanism of injury was considered to be an important factor in analyzing the causes of injuries and suggesting preventative measures, despite the absence of a biomechanical analysis of the various aspects of the show. Insufficient warm-up, previous injury, and return to participation too soon following an injury were considered to be contributing factors associated with injury. Acute injuries were attributed to poor conditioning, poor biomechanical technique, lack of skill, fear of injury, lack of concentration while performing skills, equipment failure, poor communication between two performers, poor spotting, inadequate safety equipment, and interference from props or apparatus. Overuse injuries were attributed to increased training time, over-training, muscle imbalances, inflexibility, postural problems, poor skill biomechanics, previous injury, fatigue, effects from costumes, and effects from apparatus. Use of this database for ongoing tracking of injury and exposure data was determined to be helpful for injury projection/prediction, development of conditioning and rehabilitation programs that are activity specific, Establishment of the necessity of a full-time coaching staff, long term injury tracking, and screening athletes for potential employment. [author summary]
Observacion y analisis de la expresion motriz escenica : estudio de la logica interna de los espectaculos artisticos profesionales : Cirque du Soleil (1986-2005)Los objetivos generales de la tesis se centran por una parte, en sistematizar la información sobre las prácticas expresivas en la disciplina praxiológica, y por otra, en profundizar en la lógica interna del circo contemporáneo a través del estudio de los espectáculos de una compañía internacional. La parte teórica y discursiva se desarrolla a lo largo de los tres primeros capítulos, que constituyen un marco teórico de elaboración personal creado a propósito para la tesis, y que constituye una de sus aportaciones más relevantes. El primero de los capítulos está dedicado a situar el concepto que subyace en el conjunto de la tesis: la educación motriz artística. En el segundo capítulo se abordan las situaciones motrices de expresión desde la óptica de la ciencia de la acción motriz –desarrollada por el profesor Pierre Parlebas–. Por último, en el tercer capítulo se identifican los rasgos dominantes de la lógica interna de los espectáculos artísticos profesionales (de danza, circo, mimo y teatro gestual). El conjunto de los tres capítulos proporciona el marco teórico en base al que se construye el instrumento de observación que se utiliza en la parte empírica de la investigación. En la segunda parte de la tesis se profundiza en la lógica interna de uno de los grupos de situaciones motrices de expresión: los espectáculos artísticos profesionales circenses, y dentro de los mismos, se estudian diez de los espectáculos de circo contemporáneo de la compañía Cirque du Soleil en el periodo comprendido entre 1986 y el año 2005. Tras la explicación en el cuarto capítulo de las bases de la metodología observacional, en el quinto se explica el instrumento de observación (Expresión motriz escénica en el circo –EMEC–) creado ad hoc para el trabajo. La aplicación de la metodología observacional junto con la elaboración del formato de campo, complementado con las técnicas de observación, registro, codificación, control de la calidad del dato y el análisis de datos, permite obtener unos resultados útiles con vistas a perfilar los componentes que se combinan en la creación de espectáculos y observar cómo éstos se suceden diacrónicamente a lo largo de los mismos. Ya en el sexto capítulo se exponen y analizan los datos obtenidos tras el registro, con la aplicación de diversos análisis: descriptivo, comparación de proporciones, análisis de tendencias, análisis log-linear y análisis secuencial de retardos para, finalmente, interpretar los mismos. El capítulo séptimo reúne las conclusiones, y se organiza alrededor de tres bloques: en primer lugar, las conclusiones relativas a las situaciones motrices de expresión en el contexto de la praxiología motriz; en segundo lugar, las aportaciones relativas a la lógica interna de los espectáculos motores; y por último, las conclusiones a partir del estudio empírico de la compañía de circo estudiada.

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