The storyline of Quidam is about a young girl named Zoé who wishes to escape her typical life with her parents. She manages to break away from this life and enter a stream of consciousness and enter into a mystical world brought forth by Cirque Du Soleil and their skillful performers. At the end of the program, Zoé returns home with a new found sense of inner freedom.
The audience sat in their seats astonished as they watched amazing feats being performed in such a melodic, graceful manner. The choreography was the main appeal for many people watching the bodies on stage shift from gymnastics to dance. According to Dance Magazine, “Cirque can be said to have truly invented the medium of acrobatic [sic] dance-theatre” (Gesmer 50+) When watching the characters move I could see their gymnastic background tied in with the skill to move as gracefully as a ballerina while mesmerizing the audience with their theatrical expressions. One character I noticed, in particular was ‘the target’ or the vulnerable “bulls-eye, fired at by everyone” Although his technique was strong his movements were fragile. This display of elegance was breathtaking as he moved across the stage.
In order to choreograph such a marvelous performance it must take dedication and passion. This dedication and passion are qualities which, choreographer, Debra Brown, possess. Debra Brown knew from the time she was a small child that “dance would be her life.” qtd in (Berardi 30) She studied gymnastics and dance all her life and enjoyed choreographing from childhood. Her dance background has led her choreography into a realm of aerial acrobatics which can be left open for interpretation. Brown has been a part of every production Cirque Du Soleil has put on, since 1987. Her artistic talent has encouraged her athletes to improvise and interpret the arrangements in their own way. I believe Brown has chosen to incorporate dance with gymnastics because she wants to engage the audience. According to a member who is part of the cast of Cirque Du Soleil, the purpose is to have a “language, a conversation with the audience” (Berardi 30) I think Brown was clever, because during the performance of Quidam, I was incredibly enchanted with the emotions surfacing the movements of the dancers. Even in the stiffness of the statue scene, I could still feel this sensation of complete harmony and this notion flooded through my body and even my soul at some points.
Another interesting factor I sought out when watching Quidam was a need to distract the audience. This was tactfully choreographed. Every time there was a major piece, or act, being presented near the back right of the stage there were always performers doing something and in most cases this consisted of spinning. These ‘minor’ acts usually snuck into the performance without being noticed, near the beginning of the act. This is an example of how Brown left her choreography up for interpretation. I feel she did this because she wanted us to be in child-like mind where we can concentrate on one thing and be fully there and concerned with the present situation. I felt as if I was being tested to see if I could avert my mind to one article. Although this was hard because I wanted to know what was going on, it also made me think of people today, the common man is only concerned on jumping to the next thing. We are unable to be like children and live in the present; we always have to know what is going on everywhere at all times. Brown was intelligent when choreographing this because she conveyed the message of interpretation which Cirque Du Soleil encourages.
The lighting and sets were exquisite attributes to the show. The lights created a strong presence which represented the mood the director, Dragone, wished to set. One thing I found interesting was the use of light to express nature. The light during the show almost always represented some sort of natural element. There was a projection above the audience on the ceiling which represented a calm, dim sky and there was also a moon which was lit bright. This tied the sets in with the lighting which was an interesting characteristic of the Cirque’s ambiance. I believe Dragone, Michel Crête and Luc Lafortune (director, set designer, and lighting designer) worked closely together and chose a bright moon to show a double symbolism, the evil and paranormal of the world (mystical witches and black cats) and this is contrasted by the romance felt by being under the moonlight which often engulfs humans into a sense of magic and light-heartedness. These elements tie in with the theme of Quidam of the sufferings and bliss in human life. I felt that this moon was effective in creating a mood for every scene it was presented in.
Another form in which Lafortune used his techniques was using lighting as means to portray atmosphere. This was well done in the sense that the ‘storms’ always follow a orange/red lit stage to represent happiness, these colours also gave a real circus feeling which engaged the audience to clap along. This joy was suddenly shattered by the lights turning off and large, bright, white spotlight flashes, to create a sense of fear within the viewers. I think Lafortune chose this lighting technique because it provides such a contrast and again ties us into the theme of the show.
The sound designer, François Bergeron, also played a role in the ‘thunder scenes’ The music used in the circus-like mode was fun and had strong beats, almost similar to a polka, whereas the lighting scenes were dark, bass like music. This strong music triggered our emotions and demonstrated the contrast between happiness and sorrow. Another interesting factor is the when the clowns were on stage; the sounds used were fun and often helped the scene along. It brought out the emotions the clowns were unable to convey through words. It also provided as sound affects to let the audience have a hunch on what’s going on and imaginary props being used. I feel this was done well and made these scenes more enjoyable. The music often reflected the mood of what was going on during the scenes. In the beginning we see that Zoé is singing on stage while performing and this connects the audience more to what is happening on the stage. Also the music at the start is lullaby like and this conveys the message of a fantasy like world, which needs to bring out our inner spirits. Overall the sounds made the show more enjoyable because it let us, as the audience, get in touch with our deep emotions.
The sets were the first thing I noticed as I entered the auditorium – or circus tent. As soon as I saw them I connected them with another director, named Brecht. The sets were very similar because they were simplistic and not realistic. You could see everything the actor was doing, even if they were suppose to be behind a door. I feel this shows simplicity of the human mind, unlike Brecht, I do not think the sole purpose of the lack of sets was to get the audience to only focus on the message. I think set designer Michel Crête, created these sets in order to let the performers move around easier. One thing I found interesting was how the sets did not only stay on the stage, they moved overtop of the audience. I think this was to show the whirlwind of ones imagination. Very modern sets were used, such as metal chairs and a silver door. I found this interesting because it represented modern man in a frenzy. It demonstrated a distinction between how we are to the world and how we are on the inside. I find there to be an existentialist undertone to the sets, to tell the audience to find a balance between work and leisure.
Another fascinating factor I noticed was the difference between the colours of sets between the circus acts and the clown acts in between. The circus acts received more deathly, monotone coloured sets such as silver and the clowns received more earth tones, such as a brown wooden door and brightly coloured props. I think this was for the audience’s amusement and so they would not feel distanced from the clowns but more invited into their world. In the circus acts, I felt a certain distance as though I knew I was watching a performance and this is a very Brechtian element. The sets were interestingly put together and made the performance unique.
The costumes were as magical as the performance itself. They were very simple and for the most part looked like rags. In the introduction we see various men come out in white suits, and take them off and are in clothes which resembled peasants. I think costume designer, Dominique Lemieux, chose to make the costumes rugged and not beautiful because as the title Quidam suggests, the show is focusing on the everyday day people. This, in my opinion, would tie into the theme because the laborers tire themselves and spend their existence working, the rag costumes may be symbolizing this hard work. Not all the costumes were dark and tattered; the clown costumes were well put together and bright. I think Lemieux wanted to make this a separate entity from the other circus performers, and I feel the director wanted the audience to know they were solely there for comic relief.
The director also chose to include an element which I am unsure of the meaning; the colour red. Lemieux designed a red dress for the mother and Crête included balloons and a hanging curtain which were also red. Red was a recurring colour which I found interesting. I think the director maybe wanted the colour red to show how every day man is the same in such an absurd world. During the Second World War and the cold war, the colour red was a symbol of communism. It made me wonder if in a capitalistic society, the working man can still socially be identical. I think the director left the colour red as such an ambiguous symbol for us to interpret; Dragone wants us to use our imagination throughout the whole show.
Lastly I would like to concentrate on one character in the show and incorporate all the elements discussed and how it ties into the theme. The character which I found the most intriguing was Boum-Boum. Boum-Boum was white faced clown, which represents death, and although not dead, he had an eerie, evil character. Every time he came on stage he was presented with a boom. ‘Boum’ means ‘party’ in French; I feel Dragone chose this name because it was a contrast to his character. Before he came on stage there was always a party-like atmosphere throughout the auditorium. When he entered the stage he brought lightening and fear with him. The sound effects included booming thunder and the sets became non-existent. The set designer most likely chose to not incorporate sets because Dragone wanted the audience’s attention only on Boum-Boum and to the audience he comes into the limelight. His costume was simple and left him mostly bare. He was also always presented with boxing gloves to emphasize the strength and the power he had over the auditorium. I feel Lemieux chose to leave him with bare arms so the audience could really focus on his strength symbolized by the gloves. Boum-Boum was a critical addition to the cast because without him the audience would not experience evil which is present in every dimension we enter.
Overall Cirque Du Soleil provided a magical night for a full tent. The applause and standing ovation was well deserved after the display of daring choreography, splendid lights, theatrical sounds, striking sets, magnificent costumes and overall, beautiful and tactful direction. The characters will always remain in the memories of every viewer. During an interview with Daniel Gesmer, “‘Just be in the moment’ Brown says ‘take it as a gift to the soul, a gift for the eyes’” (50+) Brown could not have stated the performance I experienced any clearer.
Works Cited
Berardi, Gigi “Circus Dance = Cirque Du Soleil.” Dance Magazine Sept. 2002: 30
Gesmer, Daniel “Ringmistress of Cirque Du Soleil.” Dance Magazine July 1998: 50+
