World-renowned circus company Cirque du Soleil will bring one of its longest-running and most beloved touring shows to Auckland’s Spark Arena this October.
Corteo, which premiered in Montreal under a Big Top tent in April 2005, has wowed more than 12 million spectators in 30 countries with a mix of comedy, performance art, music, illusions and acrobatics.
Artistic director and long-time circus performer Olaf Triebel says many of these performers have backgrounds in tumbling or gymnastics or trampolining - and the training's fairly straightforward.
"Their body is already completely trained, so then what they have to focus on is more the artistic side of it - to learn how to move or to dance or to become an artist on stage."
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:06):
You're listening to the Sunday Session podcast with Francesca Rudkin
from News Talks atb Look.
Speaker 2 (00:13):
I do love the magic of a circus. If any
of you have been to a circus sole show, you
will know that just incredible. The stunts these artists performed
defy belief Right Circus heading back to New Zealand later
this year with the show Courtillo. The production is led
by artistic director and longtime circus performer oll Off Trouble.
He joins me now for a bit of an insight
(00:33):
into how circuit sli artists learn and perform these incredible stunts.
Good morning, Oh thank you so much for being with us.
Speaker 3 (00:40):
It's my pleasure to be here.
Speaker 2 (00:42):
Your expertise is hand balancing. Talk me through what that involves.
It's not just handstands, is it.
Speaker 3 (00:51):
No, it's everything you do while you're enhancedand it's a
lot of flexibility, of contortion, of bending the body into
all kinds of positions while you're balancing on one arm.
That's when I was doing back the days when I
was an artist myself.
Speaker 2 (01:08):
How long did it take you to master that skill?
Speaker 3 (01:12):
That's a tricky question. I started training circus at the
age of ten on a recreational level, just just for
fun and to just play with it. And then when
I was twenty years old, I moved from Germany to
Canada to to Montreal where I studied four years at
the National Circus School and really specialized and trained between
four and six hours of hand balancing every day. But
(01:34):
then it doesn't stop, like even once you start performing
and graduating, you keep training and you keep adding new
tricks and try to get better and better and better.
Speaker 2 (01:42):
And would that be a similar experience that a lot
of the performers and circus that I have had.
Speaker 3 (01:48):
Yeah, it's there's a couple of different ways to get
into circus. So late there's one side where people come
from high level sports, from gymnastics or from rhythmic gymnastics
or tumbling, diving, trampoline, and those people they have their
their body, it is already completely tracked. So then what
(02:09):
they have to focus on is more the artistic side
of it, to learn to move or to dance, or
to become an artist on stage. That's then the tricky part.
Another way to get into circu is either you come
from a circus school where you've already trained in dance
and acting, and you have vocal lessons, and you already
(02:29):
have that whole package that ideally an artist who is
on a circus lay stage has.
Speaker 2 (02:35):
So when you were ten years old, did you have
any idea that this could become your life?
Speaker 3 (02:42):
Oh? Never, I had no idea. At nineteen, and then
at twenty I moved to Canada, so it went really
really fast. No, it was really just my friends were
playing soccer or basketball, and I was lucky that in
the city where I grew up there was this local
children and youth circus where Friday afternoons, for two hours
we would learn how to juggle and how to do
(03:04):
basic partner acrobat and a little bit of aeriel. But
it was really more playing circus. And in the summer
we would have a little circus tent and we would
sleep there for two weeks and we would put a
program together and in the last couple of days we
would perform the shows. And then it was that famous
snowball effect of doing a little bit more. And then
(03:25):
instead of having a summer job somewhere, I was doing
shows with friends where we would make money. And then
I went to university for three days and it absolutely
wasn't for me, so I said, I can I don't
want to go back there. And then I had a
conversation with my parents and I said, well, what if
I would really train focus really for a year auditioned
(03:48):
for the Circus School in Montreal. And in the beginning
it was kind of oh, yeah, yeah, you do that
and then if ever you get accepted, we will help you.
They didn't take it that serious until the envelope came
back with your accepted to the school, and then they
were super happy and excited. And that's how I ended
up as a former What.
Speaker 2 (04:07):
Were you going to study at university or love?
Speaker 3 (04:10):
I was there for biology. What is it called sociology?
Speaker 2 (04:17):
Sociology?
Speaker 3 (04:18):
Yeah, okay, and geography and I'm so glad that I
did not do that. Best decision ever.
Speaker 2 (04:26):
Tell me. Growing up in Germany? Am I right that
there were a lot of traditional family circuses that would
tour the country. Is that kind of where you got
exposed to this?
Speaker 3 (04:34):
Absolutely? So, there's back in the days when I grew up,
there were over two hundred and fifty traditional we call
them family circuses, where it's the family with the grandparents
and the kids who travel around to set up a
small tent to do the entire two hour shows. It's
like six or seven people who are doing it, and
there was always something that fascinated me. I don't even
(04:57):
know how it started exactly, but I do remember that
I would always go with my mom as soon as
there was a circus or I could see a post
somewhere in the city. My mother knew already there's no
need to argue because we will end up going going
to the circus and watch it. I don't know what
it is. It's something about or back in the days,
(05:17):
it was the smell of the of the wooden little
wooden chops that would be in the in the ring,
the popcorn, the light, the people clapping. It was just
something this magic a little space.
Speaker 2 (05:33):
Do they still have them? Are the popular?
Speaker 3 (05:35):
Yeah, there's still. It's more difficult now, like it's everywhere
a little bit with live entertainment, and the pandemic definitely
did not help. It was a very very rough time.
But there's still existing and there's still touring all over Germany, Austria, Switzerland. Yes,
it's still a thing.
Speaker 2 (05:53):
Most of us can't comprehend what you and the other
performers can do, but the process of learning these skills,
particularly the ones done up high with an element of
risk to them. How do you safely learn these skills?
Speaker 3 (06:06):
That's really where either a circus school or circuslaate training
comes in very handy, because we're really doing everything we
can to make the performance at night as safe as possible.
And those are all the things that the audience doesn't
see and shouldn't see. They should see the thrill of
danger and is it gonna go out well? Or is
(06:28):
it gonna happen? Is it not gonna happen. It's just
hours and hours and hours of training with rigging specialists,
with health and safety specialists who are really analyzing the
risk of each trick that you see in a circusolation.
And there is whole meetings and different departments coming together
to make sure that we're doing everything possible to make
(06:51):
it as safe as possible.
Speaker 2 (06:52):
How much practice would go into a move before it
actually ended up in a show.
Speaker 3 (06:56):
It depends, but it's so much more than not the move.
It's people who end up on a circus late show
as acrobats. They have probably trained tens of thousands of
hours either high level gymnastics or any of those sports
or have been through a circus school, So then it
really becomes just to learn that trick, but all the
(07:17):
preparation before that trick is already done. It says if
you ask a writer, how did you write a book, Well,
first they needed to learn how to write in general.
So it's that homework you have to do before and
then the tricks. It depends. Sometimes you have just a
crazy idea and it works out on the first try,
(07:40):
and then you make sure it will work again, and
then the second and third won't work, and then it
works again. And sometimes you have to work multiple years
just to get one trick, one new trick in an act.
So it really depends.
Speaker 2 (07:53):
Wow, I mean, is the appreciate to keep upping the
game when in terms of the stunts and the performance
and what these performers can do. I mean it feels
like every time I see a production it just takes
another step.
Speaker 3 (08:08):
Yeah, I mean right now. It's also a lot of
how can we artistically and creatively make it different or
more exciting because we do usually between eight and ten
shows a week, so just to maintain that level of performance,
it's not just one competition or two competition. You have
throughout the year. You actually have to perform it twice
(08:31):
sometimes three shows a day, so you hit a limit
of how far you want to push the body, even
though you could push a little further for once or twice,
but to be able to maintain that level of performance
for ten shows a week, you also have to be
smart about not pushing the body too far.
Speaker 2 (08:51):
So it's the court here. There's a bit of a
difference to it because you have this split stage setup.
That's something that's a bit unique.
Speaker 3 (08:59):
That's the only circusolation show that has been created like that,
even because the show originally was created for the Big
Top in Montreal twenty years ago. We just celebrated our
twentieth anniversary in April earlier this year, and we've managed
to take that same formula into the arenas. Now we're
still dividing the arenas in two different sides, and in
(09:20):
the beginning when the audience walks in, there's actually curtains
that are down, so you don't see the other side
of the stage yet. So it's a little bit of
a surprise and a reveal fairly early on in the
show where the curtains go up and you realize that
you're actually also watching the audience watching the show, which
is very very special.
Speaker 2 (09:38):
Now, that is very cool. So, as you mentioned, this
show has been going for twenty years, so are you
allowed to sort of are you tweaking it? Are you
allowed to sort of make a few changes?
Speaker 3 (09:47):
And we're always tweaking it a little bit. And the
beauty of this particular show is that it's really it's
a human show. We don't really hide the artists behind
lots of makeup. You really see the personality of each artist,
which also means that when a contract of one artist
is over and they decide to do another product and
you're bringing in a new artist, that new artists changes everything.
(10:12):
Of course, if you have seen the show five years
ago and you would see today, you wouldn't realize those
changes because the show itself, the acts stay pretty much
the same, but the energy on stage it is really
like a living creature where each part you take out
and when you put a new part in, it changes
(10:33):
everything just a little bit, which is also really fun
and which keeps it fresh and alive for everybody who's
on stage.
Speaker 2 (10:40):
Your team is one hundred and twenty people from twenty
seven different countries that speak eighteen different languages. What does
that diversity bring to the show and the tame.
Speaker 3 (10:51):
I mean, it's just so exciting to have people from
all over the world, all the different cultures and learning
about different cultures and learning how to communicate because in
some cultures you're very polite. You other cults you used
to be very direct with people, and to figure out
that balance of what works for everybody and to figure
(11:13):
people out to see, Okay, how how have they become
who they are and how did culture influence that. At
the same time, we're lucky enough to visit most of
those culture with the show, which then gives us a
better understanding of where people coming from, how that culture
(11:33):
influences one one another. So that's it's really a beautiful
thing to be able to work with all those different nationalities.
Speaker 2 (11:41):
There are other twenty different circu de sile shows. I mean,
it's there's nothing else out there like it is there.
I mean, it really is quite unique, isn't it.
Speaker 3 (11:50):
The level of production is really very unique, like each
show them just the music itself is composed for each show.
It's two hours of music each each each custom piece
in our show, we have over two and a half
thousands pieces of costumes on stage, and they all have
(12:12):
been designed and hand crafted specifically for this show. All
the acts have been created, so it's the whole production
of what you see on stage is definitely very very unique.
Speaker 2 (12:25):
Yes, because we talk about how extraordinary the performers are,
but you must have an incredible crew behind the scenes
as well. I mean you've got eight hours of ironing
just needed to get the costumes really every day. That's crazy.
Speaker 3 (12:40):
Our show has the best crew period, that's what I
can say. But now we have a huge The crew
is huge. We have fifty three people on stage, which
means we have even more people on tour that the
audience doesn't see. And it's from the lighting team, the
sound team, the props and carpentry team. We travel with
(13:02):
our own physiotherapists with coaching, the wardrobe department, but we
also hire in each city about one hundred local people
who we need to make it all happen. They come
to help us set everything up, they help us strike everything,
but then also they work with the wardrobe department on
steaming costumes for eight hours each day so that at
(13:22):
night everything looks the way it's supposed to look.
Speaker 2 (13:26):
You have been in a leadership role for six to
SLA for a while. Now I'm just wondering the switch
from performer to artistic directing. How much was that about
your body going? Oh, maybe just head enough now? Does
it take a toll on you physically.
Speaker 3 (13:42):
Yes, for sure, Let's not lie about it. It's not
healthy to do ten shows a week for the rest
of your life. I stopped performing about ten years ago
where I had smaller injuries coming up and then it
takes longer to heal them and to get back to
(14:02):
where you were. And at one point it was just
let's listen to the body and make the make the
right decision. And then I actually moved away from Circus
lay for quite a while I was doing something completely
different with other Circus companies or if none Circus related projects,
and then a couple of years ago it was time
to reconnect with Circu. But it also it really it
(14:25):
helps and it makes the job easier when you really
understand also what artists need and what the needs of
people are who are on stage, and even for them
to know that there is someone who understands what their
needs are are definitely a big help for me in
my position right now.
Speaker 2 (14:45):
Well all if we can't wait for you and your
team to get here to New Zealand. Thank you so
much for your time today.
Speaker 3 (14:51):
It's my pleasure. Can't wait to get there.
Speaker 2 (14:54):
Circa Salas Couto is coming to New Zealand and or
type of tickets around sale now.
Speaker 1 (14:59):
For more from the Sunday Session with Francesca Rudkin, listen
live to News Talks it Be from nine am Sunday,
or follow the podcast on iHeartRadio
You're listening to the Sunday Session podcast with Francesca Rudkin
from News Talks atb Look.
Speaker 2 (00:13):
I do love the magic of a circus. If any
of you have been to a circus sole show, you
will know that just incredible. The stunts these artists performed
defy belief Right Circus heading back to New Zealand later
this year with the show Courtillo. The production is led
by artistic director and longtime circus performer oll Off Trouble.
He joins me now for a bit of an insight
(00:33):
into how circuit sli artists learn and perform these incredible stunts.
Good morning, Oh thank you so much for being with us.
Speaker 3 (00:40):
It's my pleasure to be here.
Speaker 2 (00:42):
Your expertise is hand balancing. Talk me through what that involves.
It's not just handstands, is it.
Speaker 3 (00:51):
No, it's everything you do while you're enhancedand it's a
lot of flexibility, of contortion, of bending the body into
all kinds of positions while you're balancing on one arm.
That's when I was doing back the days when I
was an artist myself.
Speaker 2 (01:08):
How long did it take you to master that skill?
Speaker 3 (01:12):
That's a tricky question. I started training circus at the
age of ten on a recreational level, just just for
fun and to just play with it. And then when
I was twenty years old, I moved from Germany to
Canada to to Montreal where I studied four years at
the National Circus School and really specialized and trained between
four and six hours of hand balancing every day. But
(01:34):
then it doesn't stop, like even once you start performing
and graduating, you keep training and you keep adding new
tricks and try to get better and better and better.
Speaker 2 (01:42):
And would that be a similar experience that a lot
of the performers and circus that I have had.
Speaker 3 (01:48):
Yeah, it's there's a couple of different ways to get
into circus. So late there's one side where people come
from high level sports, from gymnastics or from rhythmic gymnastics
or tumbling, diving, trampoline, and those people they have their
their body, it is already completely tracked. So then what
(02:09):
they have to focus on is more the artistic side
of it, to learn to move or to dance, or
to become an artist on stage. That's then the tricky part.
Another way to get into circu is either you come
from a circus school where you've already trained in dance
and acting, and you have vocal lessons, and you already
(02:29):
have that whole package that ideally an artist who is
on a circus lay stage has.
Speaker 2 (02:35):
So when you were ten years old, did you have
any idea that this could become your life?
Speaker 3 (02:42):
Oh? Never, I had no idea. At nineteen, and then
at twenty I moved to Canada, so it went really
really fast. No, it was really just my friends were
playing soccer or basketball, and I was lucky that in
the city where I grew up there was this local
children and youth circus where Friday afternoons, for two hours
we would learn how to juggle and how to do
(03:04):
basic partner acrobat and a little bit of aeriel. But
it was really more playing circus. And in the summer
we would have a little circus tent and we would
sleep there for two weeks and we would put a
program together and in the last couple of days we
would perform the shows. And then it was that famous
snowball effect of doing a little bit more. And then
(03:25):
instead of having a summer job somewhere, I was doing
shows with friends where we would make money. And then
I went to university for three days and it absolutely
wasn't for me, so I said, I can I don't
want to go back there. And then I had a
conversation with my parents and I said, well, what if
I would really train focus really for a year auditioned
(03:48):
for the Circus School in Montreal. And in the beginning
it was kind of oh, yeah, yeah, you do that
and then if ever you get accepted, we will help you.
They didn't take it that serious until the envelope came
back with your accepted to the school, and then they
were super happy and excited. And that's how I ended
up as a former What.
Speaker 2 (04:07):
Were you going to study at university or love?
Speaker 3 (04:10):
I was there for biology. What is it called sociology?
Speaker 2 (04:17):
Sociology?
Speaker 3 (04:18):
Yeah, okay, and geography and I'm so glad that I
did not do that. Best decision ever.
Speaker 2 (04:26):
Tell me. Growing up in Germany? Am I right that
there were a lot of traditional family circuses that would
tour the country. Is that kind of where you got
exposed to this?
Speaker 3 (04:34):
Absolutely? So, there's back in the days when I grew up,
there were over two hundred and fifty traditional we call
them family circuses, where it's the family with the grandparents
and the kids who travel around to set up a
small tent to do the entire two hour shows. It's
like six or seven people who are doing it, and
there was always something that fascinated me. I don't even
(04:57):
know how it started exactly, but I do remember that
I would always go with my mom as soon as
there was a circus or I could see a post
somewhere in the city. My mother knew already there's no
need to argue because we will end up going going
to the circus and watch it. I don't know what
it is. It's something about or back in the days,
(05:17):
it was the smell of the of the wooden little
wooden chops that would be in the in the ring,
the popcorn, the light, the people clapping. It was just
something this magic a little space.
Speaker 2 (05:33):
Do they still have them? Are the popular?
Speaker 3 (05:35):
Yeah, there's still. It's more difficult now, like it's everywhere
a little bit with live entertainment, and the pandemic definitely
did not help. It was a very very rough time.
But there's still existing and there's still touring all over Germany, Austria, Switzerland. Yes,
it's still a thing.
Speaker 2 (05:53):
Most of us can't comprehend what you and the other
performers can do, but the process of learning these skills,
particularly the ones done up high with an element of
risk to them. How do you safely learn these skills?
Speaker 3 (06:06):
That's really where either a circus school or circuslaate training
comes in very handy, because we're really doing everything we
can to make the performance at night as safe as possible.
And those are all the things that the audience doesn't
see and shouldn't see. They should see the thrill of
danger and is it gonna go out well? Or is
(06:28):
it gonna happen? Is it not gonna happen. It's just
hours and hours and hours of training with rigging specialists,
with health and safety specialists who are really analyzing the
risk of each trick that you see in a circusolation.
And there is whole meetings and different departments coming together
to make sure that we're doing everything possible to make
(06:51):
it as safe as possible.
Speaker 2 (06:52):
How much practice would go into a move before it
actually ended up in a show.
Speaker 3 (06:56):
It depends, but it's so much more than not the move.
It's people who end up on a circus late show
as acrobats. They have probably trained tens of thousands of
hours either high level gymnastics or any of those sports
or have been through a circus school, So then it
really becomes just to learn that trick, but all the
(07:17):
preparation before that trick is already done. It says if
you ask a writer, how did you write a book, Well,
first they needed to learn how to write in general.
So it's that homework you have to do before and
then the tricks. It depends. Sometimes you have just a
crazy idea and it works out on the first try,
(07:40):
and then you make sure it will work again, and
then the second and third won't work, and then it
works again. And sometimes you have to work multiple years
just to get one trick, one new trick in an act.
So it really depends.
Speaker 2 (07:53):
Wow, I mean, is the appreciate to keep upping the
game when in terms of the stunts and the performance
and what these performers can do. I mean it feels
like every time I see a production it just takes
another step.
Speaker 3 (08:08):
Yeah, I mean right now. It's also a lot of
how can we artistically and creatively make it different or
more exciting because we do usually between eight and ten
shows a week, so just to maintain that level of performance,
it's not just one competition or two competition. You have
throughout the year. You actually have to perform it twice
(08:31):
sometimes three shows a day, so you hit a limit
of how far you want to push the body, even
though you could push a little further for once or twice,
but to be able to maintain that level of performance
for ten shows a week, you also have to be
smart about not pushing the body too far.
Speaker 2 (08:51):
So it's the court here. There's a bit of a
difference to it because you have this split stage setup.
That's something that's a bit unique.
Speaker 3 (08:59):
That's the only circusolation show that has been created like that,
even because the show originally was created for the Big
Top in Montreal twenty years ago. We just celebrated our
twentieth anniversary in April earlier this year, and we've managed
to take that same formula into the arenas. Now we're
still dividing the arenas in two different sides, and in
(09:20):
the beginning when the audience walks in, there's actually curtains
that are down, so you don't see the other side
of the stage yet. So it's a little bit of
a surprise and a reveal fairly early on in the
show where the curtains go up and you realize that
you're actually also watching the audience watching the show, which
is very very special.
Speaker 2 (09:38):
Now, that is very cool. So, as you mentioned, this
show has been going for twenty years, so are you
allowed to sort of are you tweaking it? Are you
allowed to sort of make a few changes?
Speaker 3 (09:47):
And we're always tweaking it a little bit. And the
beauty of this particular show is that it's really it's
a human show. We don't really hide the artists behind
lots of makeup. You really see the personality of each artist,
which also means that when a contract of one artist
is over and they decide to do another product and
you're bringing in a new artist, that new artists changes everything.
(10:12):
Of course, if you have seen the show five years
ago and you would see today, you wouldn't realize those
changes because the show itself, the acts stay pretty much
the same, but the energy on stage it is really
like a living creature where each part you take out
and when you put a new part in, it changes
(10:33):
everything just a little bit, which is also really fun
and which keeps it fresh and alive for everybody who's
on stage.
Speaker 2 (10:40):
Your team is one hundred and twenty people from twenty
seven different countries that speak eighteen different languages. What does
that diversity bring to the show and the tame.
Speaker 3 (10:51):
I mean, it's just so exciting to have people from
all over the world, all the different cultures and learning
about different cultures and learning how to communicate because in
some cultures you're very polite. You other cults you used
to be very direct with people, and to figure out
that balance of what works for everybody and to figure
(11:13):
people out to see, Okay, how how have they become
who they are and how did culture influence that. At
the same time, we're lucky enough to visit most of
those culture with the show, which then gives us a
better understanding of where people coming from, how that culture
(11:33):
influences one one another. So that's it's really a beautiful
thing to be able to work with all those different nationalities.
Speaker 2 (11:41):
There are other twenty different circu de sile shows. I mean,
it's there's nothing else out there like it is there.
I mean, it really is quite unique, isn't it.
Speaker 3 (11:50):
The level of production is really very unique, like each
show them just the music itself is composed for each show.
It's two hours of music each each each custom piece
in our show, we have over two and a half
thousands pieces of costumes on stage, and they all have
(12:12):
been designed and hand crafted specifically for this show. All
the acts have been created, so it's the whole production
of what you see on stage is definitely very very unique.
Speaker 2 (12:25):
Yes, because we talk about how extraordinary the performers are,
but you must have an incredible crew behind the scenes
as well. I mean you've got eight hours of ironing
just needed to get the costumes really every day. That's crazy.
Speaker 3 (12:40):
Our show has the best crew period, that's what I
can say. But now we have a huge The crew
is huge. We have fifty three people on stage, which
means we have even more people on tour that the
audience doesn't see. And it's from the lighting team, the
sound team, the props and carpentry team. We travel with
(13:02):
our own physiotherapists with coaching, the wardrobe department, but we
also hire in each city about one hundred local people
who we need to make it all happen. They come
to help us set everything up, they help us strike everything,
but then also they work with the wardrobe department on
steaming costumes for eight hours each day so that at
(13:22):
night everything looks the way it's supposed to look.
Speaker 2 (13:26):
You have been in a leadership role for six to
SLA for a while. Now I'm just wondering the switch
from performer to artistic directing. How much was that about
your body going? Oh, maybe just head enough now? Does
it take a toll on you physically.
Speaker 3 (13:42):
Yes, for sure, Let's not lie about it. It's not
healthy to do ten shows a week for the rest
of your life. I stopped performing about ten years ago
where I had smaller injuries coming up and then it
takes longer to heal them and to get back to
(14:02):
where you were. And at one point it was just
let's listen to the body and make the make the
right decision. And then I actually moved away from Circus
lay for quite a while I was doing something completely
different with other Circus companies or if none Circus related projects,
and then a couple of years ago it was time
to reconnect with Circu. But it also it really it
(14:25):
helps and it makes the job easier when you really
understand also what artists need and what the needs of
people are who are on stage, and even for them
to know that there is someone who understands what their
needs are are definitely a big help for me in
my position right now.
Speaker 2 (14:45):
Well all if we can't wait for you and your
team to get here to New Zealand. Thank you so
much for your time today.
Speaker 3 (14:51):
It's my pleasure. Can't wait to get there.
Speaker 2 (14:54):
Circa Salas Couto is coming to New Zealand and or
type of tickets around sale now.
Speaker 1 (14:59):
For more from the Sunday Session with Francesca Rudkin, listen
live to News Talks it Be from nine am Sunday,
or follow the podcast on iHeartRadio
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