{"id":2442,"date":"2017-05-15T14:48:52","date_gmt":"2017-05-15T18:48:52","guid":{"rendered":"http:\/\/numa.media\/cirque-360\/"},"modified":"2017-10-24T11:52:59","modified_gmt":"2017-10-24T15:52:59","slug":"cirque-360","status":"publish","type":"post","link":"https:\/\/numa.media\/en\/cirque-360\/","title":{"rendered":"CIRCUS IN A CIRCLE"},"content":{"rendered":"<p><strong>The story in the Cirque du Soleil show,<i> Kurios, Cabinet of Curiosities<\/i>, is set at the end of the 18th century \u2013 a period marked by the emergence of many inventions and innovations, including the gramophone, wireless telegraphy, and the cinema. For director Michel Laprise, all of these inventions had something in common: they brought people closer together. \u201cIt must\u2019ve been wonderful to live in the era of the M\u00e9li\u00e8s brothers,\u201d he opines. As they created their films, they were inventing the grammar of film.\u201d For Michel, adapting <i>Kurios<\/i> to virtual reality (VR) was also an opportunity to create the syntax of a new medium.<\/strong><\/p>\n<p><span style=\"font-weight: 400;\">Andr\u00e9 Lauzon, producer and digital studio director at Cirque du Soleil M\u00e9dia, was completely won over by the potential of VR when he experienced <\/span><i><span style=\"font-weight: 400;\">Strangers with Patrick Watson<\/span><\/i><span style=\"font-weight: 400;\">, one of the first VR projects produced by F\u00e9lix &amp; Paul Studios. \u201cI realized that F\u00e9lix Lajeunesse and Paul Rapha\u00ebl are the world\u2019s best VR practitioners, both in terms of technology and design.\u201d<\/span><\/p>\n<a name='numavideo'><\/a><div class='numa-video-wrapper with-cover'><div class='video-cover-overlay'><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/numa.media\/wp-content\/uploads\/2017\/05\/Capture-d%E2%80%99%C3%A9cran-2017-04-10-%C3%A0-15.54.16.png?w=1152\" \/><i id='overlay-play' class='overlay-play'><\/i><\/div><iframe id='numavideo' allowfullscreen='allowfullscreen' src='http:\/\/player.vimeo.com\/video\/239662438?api=1&amp;title=0&amp;byline=0&amp;portrait=0&amp;color=fa1164&amp;mw=1004&amp;mh=564' frameborder='0'><\/iframe><\/div>\n<blockquote><p><span style=\"font-weight: 400;\">Andr\u00e9 Lauzon quickly realized that virtual reality could offer a new way of transposing a circus experience on screen, along with the Cirque du Soleil\u2019s famous \u201cmagic powder\u201d: \u201cIn a live show, you can\u2019t get that close to the artists.\u201d<\/span><\/p><\/blockquote>\n<p><span style=\"font-weight: 400;\">To establish a close rapport between the spectators and acrobats, it was necessary to readapt the original work completely and build the experience for a single observer. To guide the artists, Michel Laprise encouraged them to treat the camera as if it were a person they knew, someone in need of love, joy, and entertainment. \u201cEveryone looked at the camera in a very personal manner, which made for a diversity of relationships. It\u2019s as if the spectator is a new curiosity, newly arrived in the laboratory.\u201d<\/span><\/p>\n<figure id=\"attachment_1373\" aria-describedby=\"caption-attachment-1373\" style=\"width: 2560px\" class=\"wp-caption alignnone\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"wp-image-1373 size-full\" src=\"https:\/\/i0.wp.com\/numa.media\/wp-content\/uploads\/2017\/01\/kurwmc_gallery0001_v001.png?resize=1152%2C693\" alt=\"\" width=\"1152\" height=\"693\" srcset=\"https:\/\/i0.wp.com\/numa.media\/wp-content\/uploads\/2017\/01\/kurwmc_gallery0001_v001.png?w=2560&amp;ssl=1 2560w, https:\/\/i0.wp.com\/numa.media\/wp-content\/uploads\/2017\/01\/kurwmc_gallery0001_v001.png?resize=300%2C180&amp;ssl=1 300w, https:\/\/i0.wp.com\/numa.media\/wp-content\/uploads\/2017\/01\/kurwmc_gallery0001_v001.png?resize=1024%2C616&amp;ssl=1 1024w, https:\/\/i0.wp.com\/numa.media\/wp-content\/uploads\/2017\/01\/kurwmc_gallery0001_v001.png?resize=1700%2C1023&amp;ssl=1 1700w, https:\/\/i0.wp.com\/numa.media\/wp-content\/uploads\/2017\/01\/kurwmc_gallery0001_v001.png?resize=500%2C301&amp;ssl=1 500w, https:\/\/i0.wp.com\/numa.media\/wp-content\/uploads\/2017\/01\/kurwmc_gallery0001_v001.png?w=2304&amp;ssl=1 2304w\" sizes=\"auto, (max-width: 1152px) 100vw, 1152px\" \/><figcaption id=\"caption-attachment-1373\" class=\"wp-caption-text\">Kurios, Cabinet des curiosit\u00e9s<\/figcaption><\/figure>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">VR pioneers F\u00e9lix and Paul are no strangers to immersive experiences. \u201cAt the beginning, we put up large installations where we used techniques like holography and stereoscopy, then we migrated toward virtual reality,\u201d recounts co-founder F\u00e9lix Lajeunesse. \u201cIn early 2013, we began to create the tools we needed, because none of these things were around just a few years ago.\u201d<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The show was to be captured with a single shot, in all directions at once. But F\u00e9lix is used to this level of complexity: \u201cThe protocol is different from that of filmmaking. It\u2019s a bit like Braille. You work at it until it becomes intuitive.\u201d<\/span><\/p>\n<figure id=\"attachment_1690\" aria-describedby=\"caption-attachment-1690\" style=\"width: 1280px\" class=\"wp-caption aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"wp-image-1690 size-full\" src=\"https:\/\/i0.wp.com\/numa.media\/wp-content\/uploads\/2017\/05\/Felix-et-Michel.png?resize=1152%2C647\" alt=\"\" width=\"1152\" height=\"647\" srcset=\"https:\/\/i0.wp.com\/numa.media\/wp-content\/uploads\/2017\/05\/Felix-et-Michel.png?w=1280&amp;ssl=1 1280w, https:\/\/i0.wp.com\/numa.media\/wp-content\/uploads\/2017\/05\/Felix-et-Michel.png?resize=300%2C169&amp;ssl=1 300w, https:\/\/i0.wp.com\/numa.media\/wp-content\/uploads\/2017\/05\/Felix-et-Michel.png?resize=1024%2C575&amp;ssl=1 1024w, https:\/\/i0.wp.com\/numa.media\/wp-content\/uploads\/2017\/05\/Felix-et-Michel.png?resize=500%2C281&amp;ssl=1 500w\" sizes=\"auto, (max-width: 1152px) 100vw, 1152px\" \/><figcaption id=\"caption-attachment-1690\" class=\"wp-caption-text\">F\u00e9lix Lajeunesse de Felix &amp; Paul, et Michel Laprise, metteur en sc\u00e8ne au Cirque du Soleil<\/figcaption><\/figure>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Today, virtual reality is a normal pursuit for F\u00e9lix. According to Andr\u00e9, the experience of <\/span><i><span style=\"font-weight: 400;\">Kurios <\/span><\/i><span style=\"font-weight: 400;\">shows that this technology is here to stay and that we need to embrace it and make it our own.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The story in the Cirque du Soleil show, Kurios, Cabinet of Curiosities, is set at the end of the 18th century \u2013 a period marked by the emergence of many inventions and innovations, including the gramophone, wireless telegraphy, and the cinema. For director Michel Laprise, all of these inventions had something in common: they brought [&hellip;]<\/p>\n","protected":false},"author":5,"featured_media":1700,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[35],"tags":[],"class_list":["post-2442","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arts-en","post-grid"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/numa.media\/wp-content\/uploads\/2017\/05\/Cirque-du-Soleil-Kurios-Horse-1024x571.jpg?fit=1024%2C571&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/numa.media\/en\/wp-json\/wp\/v2\/posts\/2442","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/numa.media\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/numa.media\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/numa.media\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/numa.media\/en\/wp-json\/wp\/v2\/comments?post=2442"}],"version-history":[{"count":5,"href":"https:\/\/numa.media\/en\/wp-json\/wp\/v2\/posts\/2442\/revisions"}],"predecessor-version":[{"id":2544,"href":"https:\/\/numa.media\/en\/wp-json\/wp\/v2\/posts\/2442\/revisions\/2544"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/numa.media\/en\/wp-json\/wp\/v2\/media\/1700"}],"wp:attachment":[{"href":"https:\/\/numa.media\/en\/wp-json\/wp\/v2\/media?parent=2442"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/numa.media\/en\/wp-json\/wp\/v2\/categories?post=2442"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/numa.media\/en\/wp-json\/wp\/v2\/tags?post=2442"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}