All language subtitles for Cirque.Life.S01E02.Judgement.Day.HDTV.x264-NGP-CEsubs

Every time there is a show in Montreal,
it is under a microscope because we

cannot fail in our own market.

Nelson is going to do clown duty for a
couple of weeks.

He's got addictions to feel.

We want him to be one of the best of the
best. I think time will tell.

I'm definitely nervous. I fell about 10
feet onto the hard stage.

It's the first time that I'm going to be
back performing.

And then she gets old.

We have very opinionated people.

When you're in a team, you cannot just
be thinking about yourself.

If there is a little bit of friction, we
don't want this energy to stay around

the team at the premiere.

It's the opening night. A lot of
important people are coming.

Ladies and gentlemen, please take your
seats.

The show is about to begin.

It's such a massive thing to premiere a
show in Montreal.

From the moment that Gracie told me to
the moment that I was there on the

there was a slow rant.

Okay, this is happening. You're doing
this. Oh, my goodness. Can you believe

Holy moly. What are you going to do? Why
are you here? Why did they pick you?

Oh, my God.

It's scary, for sure.

There's so many different faces that I
see sitting in the chairs.

2 ,500 people, some of the most
important people from ISQ or from Cirque

Soleil's past, present and future.

Okay, this is my entire career on the
table.

Okay, you're on. Give the audience a
good show.

There

is

a lot of tension in the artistic tent
the night of the premiere.

A lot of people are coming from around
the world. Our promoters are coming in

town. And it has a huge impact on the
success of the tour.

Premiere is our introduction of the show
to the city.

And word of mouth is what gets people to
come to see us. We want to make sure

that whoever comes is spreading the
word, posting on social media, showing

everybody that they're having such a
great time so that people like Charlie

relax.

Live entertainment in general right now
is a bit uncertain.

Like there's so many things happening in
the world.

Circus in the same boat. So we try to
keep our little Luzia bubble protected.

But we want to find ways to have the
best sales as we can.

Obviously, like there are tickets
revenue that we need to hit.

That's why right now you're talking to
someone that is very excited to see how

this premiere is going to play out.

When the first light came on for the
parachute, I was like so nervous. I had

do an act for myself, but I was like, oh
my gosh, I hope he's okay.

I was stressed for Nelson because the
heads from Montreal are looking at him.

And he's a backup clown, so he was not
hired as a clown.

So I came down, just trying to make it
work, still haven't slept in like three

days.

The lights shift, I feel this pressure,
and I'm just looking for that first

laugh, that first response from the
audience.

There's wow, there's laughter, there's
excitement from the crowd.

And then there's that release of
applause from the audience, which is

nice.

That's when you can kind of gauge how
the show is going to be from that

It's very, very nerve -wracking to
perform in front of the creator of the

It was really important to do well.

I'm so happy to be here, and I love it
so much that, like, the idea of maybe

what if I didn't get renewed or re
-signed something, I would be so, so

devastated.

Because Nelson is the clown, I'm doing
hoop diving.

It was like, but it's Nelson. Of course
I'm just going to do it.

I'm definitely nervous.

I'm doing the full act.

I think I definitely take all of his
nerves for him. And so I think because

can't really talk very much during the
show, it's actually better if we just

stick to the plan, stick to what we have
to do, focus on our job that day. I'll

just look at him and blow him a kiss,
and that's probably better.

I don't know what you guys do to hoop
diving, but we taught her all she had to

learn, and we'll be there to support
her, and we'll see how she does.

For premieres, I understand I have no
control about what's happening on the

stage.

You know, if I'm backstage in the
artistic tent and I'm talking to the TV

saying, like, please make it happen, or
no, don't do that, they can't hear me.

It's their responsibility, and I trust
them to make good choices.

It's really very moving.

Here the success of this show, you know,
it's at the side with the public.

There's still too many things going
around, things that need to be prepared

the after party.

But as I'm walking around the big top, I
can tell that the crowd is there

because I can hear it all the way into
my office.

It's a relief.

I could see the artist being proud of
the public reaction.

I felt the same way.

Tonight, I saw an amazing show.

My

role

is to manage the party, so welcoming
celebrities and influencers.

and like a lot of people from the
community to get the word of mouth

To be so disciplined and so busy all the
time, it's nice to like know you can

have kind of a night where you can just
let go.

I think some people will do it more than
others.

It's a good time for us all to connect
together, but really everyone has to be

disciplined.

Because my number one obstacle during
premiere week is reminding people that

we'll have show notes.

Yes.

No, of course, man.

If I'd have known it was for you, I
might have done a bit better.

Tell me about Nelson.

How did he do tonight?

Just looking what time Daniele is
arriving for all these interviews and

Being in Montreal does invite a lot of
the original conceptors and designers.

Daniele Finsipato wrote and was the
original director for the show, so he's

to ensure that we're still going in the
right direction.

Check, check, one, two.

Check, check, one, two.

Nothing's missed. Check.

I've met him in passing a couple of
times because he comes and he gives

beautiful direction for the whole show.

And I guess I was always too nervous to
go up and be like, hey, how you doing?

I'm Nelson.

I think Nelson did a good job and
especially for the amount

of pressure. Everyone has opinions.

Everybody's got their perspectives.

Were you happy?

I was happy. I was really happy. It was
a very special moment for me and I was

enjoying it the whole way through.

Good. But sorry if it projected a bit.

I'm sorry.

Okay, I'm not sorry. Good.

We go there and we work on it a little
bit.

Basically, I am a clown. That is my
background.

And for a clown, the spectator is the
most important part of the show. Yes, of

course.

If you think about your clown, your
perception of the clown, describe me

your clown, somewhere you would start.

I guess my, the end goal is something I
was thinking about. And so would that be

like as the, like I want to be out there
and I want it to be a representation

of me at the foundation and then the
necessary character on top of that.

It's much more easy to be honest on
stage if you do complicated things at

same time.

Yesterday you continue to go in some
form in an over act.

Don't continue to do like in a form that
you can call a slapstick.

I ate.

Okay. Huge mistake.

Yes, for sure.

I think I was trying to really not
overact.

Daniele is an Italian clown and they
study a lot more philosophy.

And so when he gives me notes, there's
such a weight.

I absolutely fall into this is funny,
let's do this, as opposed to,

you know, not losing respect for the
story, but...

I do often find myself enjoying the
funny things a lot.

Nelson thinks I should do something. I
need to do. What I will do? Nothing.

Stay there. Do nothing.

And the honesty, too, as well. Honesty
to me and honesty to the story is the

goal. Try to do nothing. If it's
possible, just breathe.

And I find sometimes I do it.

It feels really, really nice. And then
sometimes it feels nice, but it doesn't

look good.

That's what I'm trying to do.

He needs to work a lot.

Hello. How are you? How are you?

Good. Since the premiere, everyone has
been getting notes from Cirque

headquarters. Today I'm meeting with
Daniele to discuss the Adagio Act.

It's very good to have you here.

When we started nine years ago and where
you are now, it's very clear that you

understand exactly what we try to do.

You discover so many things.

I could discover more.

I'm an original member of the cast.

Adagio is an act that requires a lot of
push and pull.

Even though I'm getting thrown around,
it requires a lot of control and

to get me in the air. If we're not
working together, the act looks bad and

risk injury.

Adagio, his blindness is so elegant.

I've been doing this show for nine years
and sometimes it's a little bit

frustrating because when I will want to
explain something to one of my

reporters, they don't understand
necessarily.

How we can help the other to understand
what you understand?

That's a good question.

Sometimes I take more time to connect
with them in the act because every day

sometimes a little bit different, you
know? Yeah.

I think everyone is learning in a more
graceful manner. But the premiere,

it went...

I don't know.

But in any case, what you achieve is so
beautiful.

You achieve something.

And keep it because things can also
disappear very quickly.

When you are on stage, you try to talk
with them or not?

Sometimes. Sometimes if I feel like it's
a very, the energy is very different.

I will change in my energy. I will
change and then they will understand.

Naomi knows how to drive them, I think,
more than anyone else.

But the question is how it will be
possible that someone like you can

influence the work of the others.

Daniele asked me to take charge.

I'm shy.

In general, like, I was very, very shy
when I was little.

So he wants us to be a bit more
grateful, a bit more in sync, and that

require me to take the lead.

It makes me wonder if I want to explore
stepping in and to really communicate.

I don't know if Nelson had ever spoken
to Daniele about the clown act, or

especially not that in -depth before.

I'm pretty sure I've got it. You know if
you want already? Yeah. What do you

want? Ham Benedict.

But sometimes you have to go through
something that's hard to make you better

the end.

You don't understand French. I do
understand French.

So when Daniele gives me notes, it's
something a bit uncomfortable to be

in, but I can see that down the track it
will be something that will be super

good for me to go through.

Libby kind of had to babysit me a bit
and pick me up and say, Nelson, we'll go

out, everything's going to be all right.

Fish cheese.

Just Google translate it. I don't know
what that one means.

Head on the bone. Oh, my God. Breakfast
routine.

Mick talks about this all the time. I'm
getting that. The breakfast routine?

Where to take, yeah.

All right. I think I'll just eat the
scrambled eggs.

Are you all right? Yeah.

I can always tell when he has pressure,
he kind of makes jokes about it.

Not in a bad way, but it just makes
light of the situation that could be

really difficult.

Oh, yeah.

There you go, guys.

Yeah. Thank you so much. You and I.

Oh, my God.

That's how to make you think.

For sure.

Good luck with that.

I'm going to destroy that.

Freaking incredible.

All of the city, everything needs to
be... Clean.

I always take care of my world.

For me, when I go on stage, the only
thing I have in mind is to give the

happiness to people, the smile.

My name is Aboubakar Traoré. I'm from
Guinea -Conakry, West Africa, and I do

football dance.

It's a mix of artistic dance.

movement with acrobatics.

My dream was to be a football
professional, to be the next Ronaldo,

Messi.

When I arrived in France, I had a chance
to try with a professional team,

Paris Saint -Germain.

Then, unfortunately, I had a injury.

I spent one month in the hospital
because I had a hip injury.

And then my dream was over.

I couldn't realize it was really the end
for me in football.

Yeah, I was really sad and my feeling
was really down.

And I told myself, I don't want to play
anymore football.

And then I had my brother who was doing
football freestyle.

He told me, hey.

This is another art where you can learn,
you can progress, and I think you can

also be happy.

I play on the street with a lot of
football resellers.

When I arrived in Louisiana, I couldn't
speak English at all. I could only say,

hello, my name is Abu.

I was like, oh, I need to learn English
so I can do things by myself.

So being a loser here really helped me
to grow as an artist and to learn.

This ball is brand new. So when we start
with this, we need at least a five -day

project because it's slippery.

So it's a good challenge.

It's slippery.

For the premiere, everyone at IHQ, they
say Abou is struggling with makeup.

So we need to go step by step. We need
to find the proper way of getting him

where we want.

This proximity we have with Montreal is
good because

that helps every artist develop what
they are doing.

I love the challenge and today they come
to give me some feedback.

So we just gave you your review of
things you need to work on.

This is how you apply your makeup right
now. See the shape of the eyebrows?

Yeah. Make sure that they're not
descending because otherwise it's going

you look a little bit sad on stage.
Okay.

When I arrived, to be honest, I wasn't
expecting to do a makeup before

performing on stage.

As men, we are not used to do a makeup.

So for me, it was like something
strange. I thought you come, you do your

and then you go home. So eyeshadow
should be here and not so low.

Okay, okay.

But... Mary, she was important because
when I arrived, I didn't know my care

mandatory.

I was really afraid to put the paint on
my eyes. It was really difficult. And

plus, to remember every step, it was
hard.

Okay, when you draw the black line on
your eyes, make it a bit more thick

because when you blend it, then it
disappears.

We don't see it as much. Yes.

Stressful moment for him to have me at
the back of him always.

Is it?

Yeah.

My role was really to develop the makeup
concept and after to teach all of the

artists how to execute their own makeup
before the show.

After the delay, the acrobat, artist,
musician, they do their own makeup

each show. Considering we have around 50
artists per show, it would take a lot

of hair and makeup artists to prepare
all of them if we would do it that way.

So usually when I do this, I use left
here, and then I use the right

hand as well.

So both hands can do the makeup on both
sides.

Haven't seen that much.

Yeah? Yeah.

That's it.

Most of the artists was coming from the
circus school and gymnastic competition.

So for me, it was totally different
because freestyle is something coming

the street. You are your own trainer.

So, yeah, I was.

I'm afraid about the judgment.

They will say I'm not enough good, so
they will not keep me.

Okay, let's try it.

This way, right?

Yes.

Yeah, it's okay. This will blend, yeah.

I do as well down, right?

Is it clear?

Yeah. I feel like now he has it nailed
down.

Now, 10 years later, I'm still here.

It takes time, of course, to trust
yourself and having that confidence as

I think to work in Cirque du Soleil and
to

work in Lucia, we are constantly working
to do best every night.

My name is Majo Cornejo. I'm the singer
of the show Lucia.

For me to work in a show that talks
about my country, Mexico, and my

makes me take every aspect of this work,
how do I say, very personally.

Make sure the voices, we hear every
single word clearly.

Yeah, I feel pressure, like, to have all
the people from Creation here and all

the artistic team here watching us.

You want to come with us? Welcome, the
new guys.

It's been a while.

Simon Carpentier is the composer of the
music in Lucian. He's here just to check

the new music, the new musicians.

So I just wanted to say, even if we
sometimes have some challenges, you're

going strong and all the moves and all
that. I have lots of notes for the mix

and the house, though.

We have some issues sometimes with the
vocal.

The voice has to be on top of things,
and then the piano is less present than

used to be. It might be something
little.

It's very important.

But we're going to work on that.

So let's do a few sound checks.

It's your tempo or the piano.

You don't have a click on that, right?
No, but it's really like the acrobat's

time. So we are following them all the
time. Like if they take more time in

moment, we have to wait for them.

You need to meet in the middle. Yep.
That's what I mean.

I always try to follow the acrobat and
like to feel their energy.

I understand.

Yeah. But I think we should go more with
the music than them. Yeah. Because it

gets in your head.

I think if we are not connected with the
acrobat, this doesn't work.

Eventually, you're going to help them to
let go. Let's move on. Yeah, yeah,

yeah.

I try to follow them, but at the same
time, they don't want us to be too slow.

So we are trying, like, to be there. My
advice would be respectfully, you don't

need to follow them.

I can feel that I have like two bosses,
like the acrobats and also Simone.

Can we hear the voice?

We will see what's going to happen.

I think that now that we are in
Montreal, we all have a lot of notes and

of different points of view.

Yeah, we are all doing our best.

The biggest challenge for me to be in
this moment, I think it's like I'm far

from the family all the time and far
from Mexico.

I think it's the hardest part to be part
of Lucia.

Today I called my dad. I was just
feeling like lost.

My

dad

and my mom are both musicians, so they
get it.

My dad, he's an amazing person. He's
always like working and fighting for his

dreams and also like for my dreams.

To live through

the screen, because you are not there
for the important moments, like when my

sister got married, I couldn't go.

When my grandma passed away and I
couldn't go, I was so mad and

It was really sad for me.

These are the things that sometimes we
don't talk about it.

Bye.

You have to sacrifice a lot of things,
like to live your dream and to be far

from the people that you love.

It's hard.

I think we're all really grateful to
have Daniele here to hear what the

have to say and make the show better.

We need to go to first position and
turning.

It actually gives me, personally,
motivation to want to jump higher and to

better and to perform harder tricks.

I definitely feel more a part of the
swing team, so much more than hoops,

because that's...

where my roots are. That's why I came to
Luzia to do Swing the Swing. So I'm

ready to get back to it.

I'll do a single salt swing. So it's
like with one swing and then I flip and

then I come back to the same swing.

Olivia's been training a trick that is
called single salt gainer.

I just want you, before you go, to step
on the mat and work with... Yeah.

We were working there for like a year,
and then she ended up falling off the

swing.

So now we need to work with her, you
know, to rebuild her trust, to do that

trick again.

Pro.

Yeah, the last time I tried the gainer
trick, I went to the hospital.

But I don't quit easily.

We see the signs there of stress because
mentally she's not ready.

It was very hairy, but I'm doing it. And
I do plan to start training it again a

bit more.

Hey.

No. No, it's not bad, huh?

And know more about the trick now. And
I'm better at the trick for the fall.

But it will definitely take some time to
gather that courage again.

She never did the jump without launch.

She's been training for two years.

I don't want to jinx it like I did last
time, but I have another jump that I'm

kind of working on.

It's from my seat position, and it's the
back layout.

So I've been training this one for a
long time now, way longer than the

jump, and so we've switched back.

Now repeat.

Good, Olivia.

Olivia, she bounced back so quick. So I
think the memories of the trauma she had

there, I think that would not affect.

She's an amazing acrobat.

But the last one, very good.

And I feel like that in the show, huh?

After swing training, like, okay, yeah,
I'm raving it.

After meeting with Daniele, I don't feel
like it's a responsibility.

I feel it's more of a conversation with
my team.

Well,

Daniele asked me to take charge.

Let's go.

So today, that's what I plan to do.

your eyes and think the box is still
there.

It's 45 centimeters.

That's from here. You should catch Eddie
here.

Okay, let's go.

She had the height. She had the time.
She had everything. But when they

caught... Still struggling to pull it on
the handstand.

And this will let her put the hip on.

Naomi is very calm.

Chris, he likes to talk a lot, give a
lot of feedback.

I think this is prettier because you
make the whole element of a one -time.

And in the handstand... If I don't feel
these arms, I cannot help you. There is

a progression.

If you get the handstand really solid,
this will not be a problem.

But I'm afraid that if you make the move
now, you kind of skip a step.

I love Chris.

He's got big opinions, but today he's
just not listening.

Sometimes it's the language.

When we're saying something and we're
thinking it's clear, we end up figuring

out that he didn't understand anything.

Daniele asked me to take charge, but
clearly some of them don't want to take

direction from me, and I'm not sure what
to do.

After practicing the trick a few times
with Chris, now I'm feeling a little bit

far from the goal. So, yeah, mixed
feelings.

We're in Montreal.

All eyes are on us, especially from IHQ,
and making sure that the show is in tip

-top shape.

And that applies for me as well.

Last I measured, I was 191.

And I really held on to it.

93 kilos.

The first time I was measured for Cirque
du Soleil, I was 21.

Right on the arrow, this one.

Big foot.

I was super young. I was super thin.

And over the last eight years, My body's
changed.

We've had to do another measurement and
get all the costumes changed because I'm

not the little kid that I was when I
first joined the tour.

I'm here.

I think

I'm very lucky that my

body is the way that it is because it
separates me from everyone else.

All the other acrobats.

of a shorter stature, strong, bouncy.

I like to think that my length, the
people in the back row really get a good

view of the trick.

What are you filling out? What

are these things? It's the weight, the
weight of the artist.

Yeah. We had to change profile.

No.

Are you the heaviest tube diver?

Obviously.

But in the world, that was how I was
hired.

What are you going to do?

Nothing.

But it's this number. What are you going
to do about that?

You want me to get to the 100, Mark?

Can I lift it up?

Be the only 100 kilo acrobat in the
world?

I'll do it.

Bring it on. I'm scared. I'll order
McDonald's tonight.

You know, circus is a dangerous career.
So there's different elements that we

have to consider to ensure injury
prevention.

It's more dangerous when I'm casting
someone who's not going to fit the

acrobatic profile.

I'll yell at you when the cameras aren't
rolling.

I think my biggest takeaway from the
note session with Daniele would have to

being very empathetic towards the
audience and really taking a lot of care

respecting the fact that they've paid
all that money to come and see you,

is something that I think I'll really
put into my performance.

I wouldn't say it's a hope. It's more
the end goal is to just come back as the

clown. It's not something that I hope
for. It's something that I'm going to

Have a great show tonight, everybody.

Nelson to set.

Copy, Nelson.

Good job!

Stand by, fade to black, and Nelson in.

Go.

There's no need to project outward as
much as I am. They pay to come and see

I don't have to make sure that they're
watching.

As I did the show, it was, okay,
empathy, empathy, empathy, empathy,

And I was like, where can I be empathy?

And I picked the audience member, and I
think they had a sore leg or something.

And so I was like, there's the moment.

Show the care in that moment.

There's an opportunity to take advantage
and make your clown a bit better, then

I absolutely have to do it.

Nelson is not afraid about judgment.

So is beautiful.

To be an understudy, your colleagues can
always compare you to the one that was

there before.

I find it is an act of generosity.

for an acrobat to be an understudy and
to save the show.

Before we jump every show, you take
time.

I visualize, I breathe, I pray, I watch
myself do it in my head before I do it.

You do it, you're not scared.

I'm prepared for this, I train for this.

Also, I think what's really important is
the team. I really don't think I could

have gotten back up on the swing if I
didn't have a team that I felt so safe

with.

There's so many different parts of
Olivia and that's what makes her so

I can see her focus and I can see her
confidence when she does her specialty.

She sometimes has a moment where she's
feeling the nerves and then she does it

anyway.

For me, the makeup is different.

In the beginning, it was harder because
it took me three hours. Now, I'm around

30 minutes, so it's a lot of progress
from the start.

the energy he brings to football you see
the love the passion he has for that

you know and then he shows that on stage
and it's beautiful

during

the show the musicians

have the opportunity to improvise a lot
especially like during the acrobatic

moment and i have to make it work for
both the acrobats and also simone but

i have to respect what i have in my mind
in my heart what i'm living

this is the first time i hear there was
a discussion between the

composer and my hope but for us it's
very important that there is no big

change into the rhythm of the song It's
very important for the music and the

routine to really be in symbiosis.

We trust Maho.

Maho will know how to set the pace for
the song.

Three, four, three, four.

You don't have it. You didn't. The last
few shows went great. I really feel like

I'm finding my rhythm.

Oh, that's cheating.

Restart the game. For the first time, I
didn't feel stressed.

I didn't feel nervous.

It almost feels like it's second nature
now. I can really enjoy the performance

as opposed to being worried about the
performance.

Feels good.

I love the attention, of course. I would
never want to steal Eric's job from

him, but I would be so thankful if he
would share the character with me. I

a bit of that.

Three weeks ago, I had my appendix
removed.

It was a premier, and I couldn't be
there with...

I didn't like.

I wrote this track.

It's mine. I know every corner of it.

It's my coat someone else is wearing.

Next, on Cirque Life.

The fitness test happens twice a year.
It is mandatory for the artist.

It's a way for Cirque to make sure that
the artists are still able to do what

they do.

If you fail the test, then you cannot
perform.

Alex is very special. We don't know how
to really test him. His body is out of

this planet.

With Dorit, we are trying to get to
trick the slick coin. You're upside

You feel your weight shifted very far
forward, and you can't see the floor.

So it is really challenging.

Now I come back, and I show them.

the back now make us laugh nelson thinks
he gets it it's i think it's more mind

games than an actual exercise