Highlights
The journey
Every performance tells a story.
But behind every performance lies a journey,
one of dreams, unexpected opportunities, challenges, resilience,
creativity, and countless moments of growth.
Looking back over nearly three decades of performing around the world,
I realize that every production, collaboration, and milestone became
more than a career highlight. Each one contributed to shaping not only
the artist I became, but also the person I am today.
Here are some of the defining moments that have shaped
my artistic journey, both on stage and beyond.
Explore the chapters below to discover the moments that shaped my journey.
This is where my journey into circus truly began.
Before Quidam, I had never performed aerial work. I had never seen or touched an aerial hoop, nor imagined what could be created through this unique form of movement. I came from a background of dance and gymnastics, but stepping into the circus world meant discovering an entirely new language of artistry, movement, character, and storytelling.
A private three-day audition
My entry into Cirque du Soleil came through an unexpected opportunity.
A very good friend from my gymnastics background, who had attended circus school, had auditioned for Quidam and was selected to join the trio aerial hoop act. During the training process, one of the performers became unable to continue, leaving a position to be filled.
My friend mentioned my name to the production team, believing I could be a good fit for what they were looking for. Because the production was specifically searching for someone to complete this act, the team organized a private three-day audition for me.
Around eight members of the Quidam production and casting team were present during those three days, evaluating not only my physical and artistic abilities, but also my ability to adapt, learn quickly, and step into this new world.
It was an intense and intimidating experience. I had never done aerial hoop before, but I brought everything I had from my background as a gymnast and dancer: discipline, determination, movement awareness, and the willingness to learn.
At the end of those three days, the director of the show came to shake my hand and said:
"Welcome into the club."
At that point in my life, I knew only about three words in English... but I surely understood those words!
I couldn't believe it was happening. I had been chosen to become part of Cirque du Soleil, one of the most recognized circus companies in the world.
Preparing for the stage
What followed was an intense four-month preparation period, learning the aerial hoop routine and building the physical foundation required for the demanding performance schedule ahead.
Those months marked the beginning of a completely new chapter: discovering aerial artistry, adapting to the discipline of professional circus, and preparing to perform at a level I had never experienced before.
With my dear friend
Marie-Michelle Faber (right),
whose conviction in my potential opened the door to a life-changing journey.
From our gymnastics years to sharing the stage together, these are memories I will forever cherish.
One of the aerial hoop trio configurations during my years performing in Quidam, with
Marie-Michelle Faber (right) and Aloysia Gavre (center).
Over the years, different artists brought their own energy and artistry to this act, making each chapter of the production unique.
The beginning of a new aerial language at Cirque du Soleil.
Created in 1996, Quidam became the first Cirque du Soleil production to incorporate aerial hoop, opening the door to a new form of aerial artistry within the company. I had the privilege of being part of this new chapter, discovering a discipline I had never imagined pursuing.
I didn't choose aerial hoop... it chose me. And what began as an unexpected encounter became a lifelong artistic connection I could have never predicted. Over time, this unfamiliar apparatus became a true creative partner, and I found myself falling in love with the possibilities it offered for movement, expression, and storytelling.
The official production video was filmed only 10 months after I began discovering this new world. It offers a glimpse into the early steps of a young woman taking her first flight, not only in the air, but also into life itself. I had just turned 18 when I joined Cirque du Soleil, stepping into an extraordinary journey that would shape the artist and person I would become.
This official recording features me (Marie-Eve Bisson), Marie-Michelle Faber, and Genevieve Bessette. Genevieve was one of the original aerial hoop artists who helped introduce this new discipline when Quidam premiered in 1996. Marie-Michelle and I joined the production two and a half years later, continuing this beautiful artistic legacy.
Looking back, Quidam was far more than my first professional contract. It introduced me to a world I had never imagined and to an art form that would become a passion and part of who I am.
It was the beginning of an extraordinary journey that shaped my career, my creativity, and the way I approach challenges, both on stage and in life.
To many people, aerial hoop looks graceful, effortless, and almost weightless.
The reality is very different.
An aerial hoop is a solid steel apparatus. In the beginning, every movement is physically demanding. It bruises the body, the constant spinning can make you nauseous, and performing high above the ground without a safety net or harness requires complete trust in your preparation.
When I joined Quidam, I had only four months of aerial hoop training experience before entering the show.
I had learned the choreography. But I hadn't yet learned the language.
I often compare it to learning a foreign language.
I knew some of the words.
I knew a few complete sentences.
But if something unexpected happened in the middle of a sentence, I didn't yet know how to replace one word with another and continue the conversation naturally.
One Sunday, during the morning performance, something unexpected happened.
A movement that was meant to continue forward suddenly carried me backward instead.
The same situation had happened once during training, so I immediately thought, "I’ll be okay". But under the Big Top, the swing carried much more momentum than it had during studio rehearsals.
My hands were prepared for one direction. Not the other. Only the tips of my fingers were holding onto the hoop before I saw them open and release their grip.
I remember looking up at my hands and thinking,
"I can't believe I'm falling."
I fell approximately 15 to 20 feet onto the stage.
Remarkably, I didn't break any bones.
I suffered a severe concussion, lost memory of much of what happened afterward, and spent the following weeks recovering from significant back pain.
One month later, I returned to the stage.
But I returned as a different artist.
A Different Way of Thinking
The fall completely changed the way I approached aerial performance.
Before that day, I believed my responsibility was to learn the routine exactly as it had been taught.
Afterward, I realized that wasn't enough.
A performance could never rely solely on everything going according to plan.
Unexpected moments happen.
Some come from the performer.
Others come from fatigue.
Others come from technical issues, which I would also experience numerous times throughout my years performing Quidam.
I understood that true confidence doesn't come from believing nothing will ever go wrong.
It comes from knowing that if something unexpected happens, you have developed the knowledge, awareness, and ability to respond.
From that point forward, I completely changed the way I trained.
I revisited every movement.
Every transition.
Every possible point of risk.
I wanted to understand not only how each movement worked when everything went perfectly, but also how to safely recover if it didn't.
Because performing nearly every day of the year means accepting one simple truth:
No two performances are ever the same.
Your body changes.
Your energy changes.
Your emotions change.
The conditions change.
Your mindset changes.
The performance continues.
Real confidence is built by preparing for reality, not perfection.
Looking back...
Although I would never wish this experience upon another aerial performer, this fall became one of the most important turning points of my career.
It was the moment when I truly began understanding my craft.
It transformed me into a more aware, responsible, and conscious aerial artist.
It taught me that mastery is not simply about repeating movements.
It is about developing the awareness, adaptability, and trust that allow you to continue performing, even when the unexpected happens.
Those lessons have remained with me throughout every performance, every creation, and every challenge that followed, shaping not only the artist I became but also the way I approach my work, my preparation, and my responsibility in the air.
After a few years performing on Quidam, something inside me had started to evolve.
When I first joined Cirque du Soleil, aerial hoop was a completely unknown language to me. I had learned the choreography, the movements, and the technical requirements of the act.
But over the years, I began learning new words.
New sentences.
I started discovering how to make the apparatus speak through my own movement, my own expression, and my own connection with the audience. The hoop had become a language I was beginning to truly understand.
After four years on Quidam, I felt that this chapter of my journey was naturally coming to an end. I had grown tremendously as an artist, and I was ready for a new challenge.
Then an opportunity appeared.
A solo aerial hoop position was opening in Dralion.
This felt like my moment.
My opportunity to create something that truly represented who I was becoming as an artist.
And I was ready to do whatever it took to earn that place.
Creating the Fire Character
I created my own aerial hoop performance and presented it to the artistic direction of the show.
It was a perfect artistic match.
The music immediately inspired me. It carried a warm, flamenco influence, filled with attitude, passion, and power. It was originally the music composed for Genevieve Bessette's aerial hoop creation, the artist who was leaving the show and opening the door for this new chapter.
In Dralion, the world of the show was built around the four elements: earth, water, air, and fire.
The character I was to play was the only female figure within the Fire element.
She was the seductress of the main Fire character, a powerful and captivating presence that allowed me to explore an entirely different dimension of performance.
This role became even more about character work.
About intention.
About telling a story of seduction.
About understanding who this woman was and what she wanted to express on stage.
One of my greatest inspirations for this character was Carmen from the opera, whose confidence, strength, and magnetic presence helped me explore the energy I wanted to bring to this role.
Hibana — The Spark That Became Fire
In Cirque du Soleil productions, it is often a tradition for each act or character to have a name.
In Dralion, this was an important part of the artistic world of the show, and the names were displayed as part of the production's identity.
On the day of my premiere, the direction asked me:
"What is the name of your character?"
And I had no answer.
I had created the act.
I had developed the character.
But I had never thought about giving her a name.
So, just before the show, I reached out to a friend from my Quidam team, who was now in Japan with the production, and asked him if he could help me find a Japanese word that carried the spirit of fire.
A short time later, he came back with a suggestion: Hibana.
In Japanese, Hibana (火花) means "spark": the small burst of fire that carries the potential to create something much greater.
The word itself combines fire (火) with flower (花), creating a beautiful image of a "flower of fire" a spark blooming into light, energy, and movement.
It felt like the perfect name for this character.
As the only female presence within the Fire element of Dralion, Hibana represented passion, strength, confidence, and a powerful feminine energy.
A spark may seem small, but it carries the possibility of becoming a great fire.
And this was exactly what this chapter of my journey represented: discovering a new artistic power and allowing my own creative fire to grow.
A New Experience: Standing Alone on Stage
The artistic direction loved the act and trusted me with this important role.
They already knew my dedication, discipline, and work ethic from my years on Quidam. They knew the commitment I brought to every aspect of my craft, and they knew me as a reliable and responsible artist.
At that time, the solo aerial hoop was an alternate performance within the show, designed to step in whenever another act or artist was unavailable.
This type of role required a very particular level of commitment. I needed to remain available, focused, and ready to step on stage, sometimes with very little notice. The production needed to know that whenever the moment came, I would be prepared to take over with the same level of dedication, precision, and mental control required to perform safely in the air.
For me, the fact that this act was on rotation became a unique opportunity to gradually step into the world of solo performance and develop a new level of confidence and strength of mind.
Being alone on stage is a completely different experience.
In a group act, you share the energy, strength, and presence of the ensemble.
But alone, the audience's entire attention is focused on you. Every movement, every expression, and every detail becomes visible.
I saw this as a chance to deepen my artistry and develop the confidence to carry an entire moment on my own.
I had also heard that, throughout the life of a show, opportunities often arise for the alternate act to perform more frequently.
So I embraced the journey.
And over the three and a half years I spent with Dralion, the production performed 1,000 shows, and I had the privilege of performing Hibana for 870 of them.
Knowing When It Was Time for the Next Flight
Over time, the act proved itself.
Hibana was regularly mentioned in newspaper reviews and became a recognized part of the show.
But deep inside, something was growing.
I was in my mid-twenties, and I felt ready for more.
Even though I was performing in almost every show, I wanted to be part of every performance, without wondering each day whether I would be stepping on stage that night.
I had the energy, the passion, and the determination to fully claim my place within the production, not only stepping in when needed, but embracing the full responsibility of being a permanent part of the show.
I was so passionate about performing that I wanted to fully step onto the stage, share my artistry, and live that connection with the audience night after night.
The experience had given me exactly what I needed: the confidence of creating my own act, developing my own character, and carrying a solo performance that had become a strong part of the show.
But it also made me realize that I was ready for my next personal flight beyond Cirque du Soleil.
Leaving was not about turning the page on what I had accomplished.
It was about honoring the growth that had happened and trusting that another chapter was ready to unfold.
The solo aerial hoop act received significant recognition throughout its time in Dralion, including numerous newspaper mentions.
This image holds a special place in my journey. It was my first official promotional photo for Hibana, created before I had even fully stepped into this new role.
This image became one of the visuals used by Cirque du Soleil on various merchandise, carrying this chapter of my artistic journey far beyond the stage.
Hibana — A Glimpse into the Fire Character
Hibana — The Complete Fire Performance
Leaving Cirque du Soleil after more than eight and a half years was not the end of my journey.
It was the beginning of an entirely new chapter.
Inside Cirque du Soleil, I had grown as a performer, learning the discipline, precision, and artistic standards required at the highest level.
But stepping outside of that world meant discovering a completely different reality.
I was no longer only the artist stepping onto the stage.
I became responsible for creating the path that would bring me there.
Discovering a New Dimension of Circus
As a self-employed artist, I entered a world filled with freedom, creativity, and uncertainty.
There was no longer a production team creating the structure around me.
I had to build it myself.
This meant developing not only as a performer, but also as a creator, entrepreneur, and professional responsible for every aspect of my work.
I continued exploring new disciplines and new ways of expressing myself through movement:
Hand-to-hand acrobatics with a partner
Aerial fabric, a discipline I had already explored during my Quidam years
Double trapeze with another female partner
Aerial straps, creating a duo act with Dominic Lacasse, a renowned artist known for his extraordinary achievements, including holding a Guinness World Record for "the human flag."
Each new apparatus and partner brought a different language.
A different relationship with movement.
A different way of telling a story.
From Performer to Creator
This period was also about creating my own artistic identity beyond Cirque du Soleil.
I explored every layer of performance creation:
Creating costumes.
Collaborating with a composer to develop an original piece of music created specifically for my aerial hoop act.
Building acts from the first idea to the final performance.
Learning the technical side of aerial work, including rigging and safety, and becoming certified to design, install, and manage my own aerial setups.
For an aerial artist, this knowledge represents much more than a technical skill.
It means taking full responsibility for creating a safe environment in which the art can happen.
Building a Name Beyond Cirque du Soleil
One of the greatest challenges of becoming self-employed was learning how to create opportunities.
The next contract was not always planned months or years in advance.
There was uncertainty.
But there was also incredible freedom.
The freedom to imagine something and bring it to life.
The freedom to create from A to Z.
The freedom to choose the artistic direction and follow ideas that came from within.
During those years, I performed in various productions, special events, and unique projects, including returning to Cirque du Soleil for special events featuring Hibana and other character-based performances.
Little by little, I was creating my own place in the circus world beyond the name of a single company.
A Reunion That Changed Everything
Four years after leaving Quidam, I crossed paths again with Jonathan during a reunion of former Quidam artists.
At that time, we had both followed different paths since leaving the show, and during this time, Jonathan had been secretly working on an extraordinary new creation.
He had invented a completely new circus apparatus and was developing a solo ground act with it.
But from the very beginning, he had imagined something more.
One day, this apparatus would leave the ground.
And for that aerial journey, he already knew who he wanted as his partner.
He told me that I was the only person he could imagine sharing this creation with.
The only thing was that he could not reveal what the apparatus actually was yet.
But knowing it involved aerial work, my answer was already clear:
I was in!
I was excited to discover this unknown apparatus and explore everything it could become.
That conversation marked the beginning of an entirely new artistic adventure
Ion: The First Flight
Jonathan had chosen simple three-letter names for his creations.
His solo act was called Zen, performed on this entirely new apparatus he had invented:
two large human-sized rings positioned at a 90-degree angle, which he named the Crossed Wheel. This unique structure opened new possibilities for movement, allowing exploration both on the ground and in the air.
For the aerial duo, he chose Ion, inspired by the idea of two energies coming together to create something new: the connection between two artists, two bodies, and two creative forces becoming one shared expression.
It was the perfect name for a partnership built on trust, connection, and shared movement.
Together, we brought Ion to life, performing the first version of what would later evolve into
Duo 2-zen-O at private events and special Cirque du Soleil productions.
A new chapter was beginning.
This image captures one of those early moments of the journey: performing outdoors in Andorra for a Cirque du Soleil special event, with the mountains as our backdrop and the only trace of our presence revealed through our shadows, ready to explore new heights together.
After four years as a self-employed artist, I had discovered a new side of the circus world.
I loved the freedom, the creativity, and the diversity of projects.
But I also realized that I deeply missed something:
performing regularly.
There is something unique about stepping onto the stage night after night, allowing a performance to mature, evolve, and become part of who you are.
One day, I sat down and wrote everything I hoped my next chapter would bring.
A production where I could perform consistently.
Greater financial stability.
The opportunity to continue discovering the world.
And to share that adventure with Jonathan.
A few months later, life answered in a way I could never have imagined.
The artistic director of Dralion called and asked if I would consider returning for the new arena version of the show.
I accepted with two conditions:
First, I would return provided that Hibana was a permanent position in the show. The production reassured me that this was their intention, understanding why I had chosen to leave the first time.
Second, my commitment, however, would be limited to a maximum of six months.
The plan was simply to help the production while they searched for a permanent replacement.
But once rehearsals began and they saw Hibana come back to life on stage, everything changed.
Instead of looking for another artist, they asked me to stay.
When I explained that my hesitation came from another dream I was building with Jonathan, their curiosity was immediately sparked.
I told them about the unique wheel apparatus he had invented and the new artistic possibilities it offered.
It turned out to be exactly what they had been searching for.
The original Big Top version of Dralion had featured a giant wheel representing the element of Time.
For the arena tour, that massive structure was no longer practical.
Jonathan's creation offered a completely new interpretation and a much deeper meaning of that same concept, bringing it to life through a new character he called Kala, acrobatics, movement, and the human connection between the four elements of the show.
After seeing the apparatus and witnessing Jonathan perform in it, the artistic team knew they wanted it in the show.
Suddenly, everything came together.
I would be performing Hibana as a permanent role in the show.
Jonathan would introduce his groundbreaking Crossed Wheel act.
And together, we would join Dralion for the arena tour.
For the next four years, I had the privilege of bringing Hibana to life night after night with passion, while Jonathan shared his remarkable creation with audiences around the world.
On top of this, those years gave us the opportunity to continue developing our own artistic vision together. Behind the scenes of Dralion, between performances, we continued shaping and refining Ion, the first version of our duo, which would gradually evolve into the act now known as
Duo 2-zen-O.
Looking back, I can clearly see how life beautifully aligned every piece of the puzzle, allowing two individual journeys to become one shared adventure.
During a promotional event for Dralion, Hibana and Jonathan's Crossed Wheel creation were presented side by side, introducing audiences to two unique artistic expressions within the show.
You can catch a glimpse of that special promotional event in the video below.
One of many press recognition celebrating two artistic creations that quickly became audience favorites throughout the tour.
What began as two individual artistic journeys coming together in Dralion would soon evolve into the creation of Duo 2-zen-O.
The final performance of Dralion in early 2015 marked the end of an incredible chapter.
After years of evolution, creation, and performances around the world, the show closed its final curtain.
But we did not leave Dralion empty-handed.
We carried with us something new.
A creation that had quietly grown behind the scenes, between performances, rehearsals, and countless hours of exploration.
A new Duo 2-zen-O performance, captured on video on the Dralion stage.
That video became the key that opened our next door.
A New Breath of Innovation
When we shared this video with a respected circus agent, his reaction was immediate.
He saw in Jonathan's Crossed Wheel something the circus world was looking for:
a fresh artistic vision.
A new possibility.
A breath of innovation in an industry where many traditions had been passed down through generations.
Outside of Cirque du Soleil, the circus world still carries a strong heritage. Many artists come from long-standing circus families, and the industry is built on deep relationships, history, and tradition.
For two artists coming from a contemporary circus background, stepping into this world meant introducing ourselves all over again.
We were no longer simply Cirque du Soleil performers.
We were becoming Duo 2-zen-O.
Our First International Circus Festival: IDOL Moscow
Through this connection, we were invited to participate in the prestigious International Circus Festival IDOL in Moscow.
Created in 2013 by renowned circus directors Askold and Edgard Zapashny, IDOL quickly established itself as one of the world's leading international circus competitions, bringing together some of the finest circus artists from across the globe.
This would be our first official competition as Duo 2-zen-O.
The festival took place at the iconic Great Moscow State Circus, where artists from around the world performed before both an international jury of circus professionals and a jury composed of journalists and media personalities.
Walking into that environment was unforgettable.
We were surrounded by performers carrying decades of circus tradition, extraordinary talent, and generations of artistic heritage.
And nobody knew us.
We had not yet built a name of our own.
We were simply two artists presenting a brand-new creation.
A Response Beyond Our Expectations
The competition unfolded over three days.
We believed we had created something special.
But we had no idea how the international circus community would receive it.
When the awards were announced, everything changed.
Duo 2-zen-O received:
• Silver IDOL Award presented by the Professional Jury
• Silver Ring Award presented by the Press and Media Jury
In addition to these distinctions, we were honored with two special recognitions that would profoundly influence the next chapter of our journey:
• An official invitation from Genís Matabosch to participate in the International Circus Festival of Figueres.
• A Special Recognition Award presented by Dr. Alain Frère, Artistic Advisor to the Monte Carlo International Circus Festival, whose support would later lead to our invitation to perform in Monaco.
More meaningful than the awards themselves was what happened afterward.
Producers, circus directors, and representatives from major companies and circus families began knocking on the door of our dressing room, offering contracts and inviting us to perform around the world.
We could hardly believe what was happening.
Within just a few days, the act we had quietly developed behind the scenes of Dralion had earned international recognition and found its place on the world circus stage.
Click below to discover more images from our IDOL Moscow experience.
The festival did far more than reward our performance.
It opened doors we could never have imagined.
We left Moscow with the excitement of seeing our dream become reality, and with opportunities that would shape the next several years of our journey.
After our first competition at IDOL Moscow (2015), new contract opportunities began to appear. Among them, we were invited to present Duo 2-zen-O at other prestigious circus festivals around the world.
Each festival brought us into a new environment, surrounded by different circus traditions, artists, and audiences.
For us, it was an opportunity to share our work and continue discovering where our unique artistic creation would take us.
International Circus Festival of Figueres, Spain (2016)
Following our experience in Moscow, our journey continued in Figueres, at the International Circus Festival.
Created in 2012 by Genís Matabosch, the Festival was dedicated to presenting exceptional circus acts never before seen in Europe.
Performing in this environment, surrounded by artists from many different circus backgrounds, was another memorable step in our journey.
We were honored to receive the Silver Elephant Award.
Beyond the official competition award, Duo 2-zen-O also received special recognition from influential figures of the circus world:
The Burgus Circus Award, presented personally by Christian Sudre, and
a Special Award from Gia Eradze of the Royal Circus Gia Eradze.
Click below to discover more images from our Circ International Festival experience.
Monte Carlo International Circus Festival, Monaco (2018)
Founded in 1974 by Prince Rainier III, the Monte Carlo International Circus Festival is widely regarded as the most prestigious circus competition in the world. Today, under the presidency of H.S.H. Princess Stéphanie of Monaco, it continues to celebrate the highest level of circus artistry, with the Golden, Silver, and Bronze Clown Awards considered the industry's greatest honors.
Returning to Monte Carlo carried a very special meaning for me.
In 2002, I had the privilege of performing on this legendary stage as part of the aerial hoop trio from Quidam.
Sixteen years later, I was returning once again, but this time with Jonathan, presenting a creation born from our own artistic vision and performing under our own name.
Standing once again on this iconic stage, as co-creators of Duo 2-zen-O, made the experience deeply meaningful.
We were honored to receive the Bronze Clown Award,
as well as a Special Award from Kobzov Circus, presented personally by Mykola Kobzov, founder of Ukraine's largest circus organisation.
Click below to discover more images from our Monte Carlo Festival experience.
Massy International Circus Festival, France (2019)
Created in 1993, it is one of France's major circus competitions, bringing together exceptional artists from around the world under its Big Top in Massy. For us, this festival would bring another unexpected milestone.
By then, we had learned that every festival carried its own surprises, and each one remained a new adventure.
We arrived in Massy with the same intention: to share our creation, connect with the audience, and discover other performers' craft and talent.
What happened next went beyond anything we had imagined.
At the end of the competition, Duo 2-zen-O received the festival's "Piste d'Or" (Gold Award), presented by Elisa Van Der Meijden, President of the Festival Jury.
Standing there, receiving this recognition for a creation that had started as an idea between two artists, was a deeply moving moment.
Click below to discover more images from our Massy Festival experience.
Where Recognition Became Belonging
From Moscow to Figueres, Monte Carlo, and Massy, these festivals became important chapters in the life of Duo 2-zen-O.
Beyond the awards, these festivals gave us something even more meaningful.
When we first entered this traditional circus world, nobody knew us. Even though we had spent years performing at the highest level with Cirque du Soleil, we arrived as new faces within this community, almost as if we were starting from the beginning again.
Through these encounters, we gradually found our place within the international circus scene and became a part of this unique family.
We connected with admiration and awe with artists from different traditions and generations, discovering a world rich with history, passion, and shared values.
Many of these connections have continued throughout the years, making every unexpected reunion on another stage, in another country, within another production a truly joyful and meaningful moment.
By then, Duo 2-zen-O had truly begun to write its own story.
Towards the end of 2015, shortly after our experience at IDOL Moscow, an unexpected opportunity came into my life.
The Artistic Director of Kooza contacted me with an extraordinary invitation:
Would I consider joining the show with my aerial hoop performance?
My first reaction was immediate:
Wow!
The aerial hoop had always been a deeply important part of who I was as an artist. Even though my focus was increasingly moving toward the creation and development of Duo 2-zen-O with Jonathan, the hoop remained a language I loved, a place where I felt completely at home.
But at that moment, our duo was also growing quickly, and we had commitments ahead of us.
So my first answer was no.
But something inside me kept returning to this opportunity. This position was calling me.
A month later, after thoughtfully reflecting on this opportunity together, Jonathan and I realized that it deserved to be explored.
I contacted the Artistic Director again, sharing that I was now open to considering the offer, while wondering if it was already too late...
Five minutes later, the familiar sound of a new email broke the silence. It was her reply.
She was at the airport, preparing to fly to Kooza to meet with the team and choose the artist who would take over the newly created aerial hoop position.
She told me that she had just been reviewing the potential artists' videos, and had watched Hibana again, my character and performance from Dralion. She had been disappointed to see that I was unavailable.
And then, my message arrived.
The timing was unbelievable! It was truly a matter of hours. Had I written even slightly later, the opportunity would have already belonged to another artist.
The artistic director was thrilled.
I explained that my availability would not be completely flexible because Duo 2-zen-O was already developing and we had contracts ahead.
Her answer was simple:
It did not matter.
They wanted me for the role.
The production would adapt around my other commitments, keeping the position for me and replacing me temporarily whenever I was away.
It was simply an extraordinary opportunity.
Entering the World of Kooza
Kooza represented a very special artistic direction for Cirque du Soleil.
Created in 2007 by writer and director David Shiner, it marked a return to the company's roots, celebrating exceptional acrobatics, bold clowning, and the timeless spirit of traditional circus.
Through the journey of The Innocent, encountering The Trickster, the show explored themes of identity, fear, power, and self-discovery.
Its name, inspired by the Sanskrit word koza ("box," "chest," or "treasure"), reflected the idea of opening something unexpected and discovering what lies within.
I had first discovered Kooza when it premiered in Montreal, and I remember being deeply impressed by the extraordinary level of artistry, precision, and technical excellence. The acts were daring, breathtaking, and at times, truly intimidating.
This was a show that celebrated the essence of circus: breathtaking feats, unforgettable characters, and moments that stayed with the audience long after the curtain fell.
Being chosen to join Kooza gave me the opportunity to challenge myself once again as an artist and take another step forward in my artistic evolution.
If I was going to become part of this world, I felt that my aerial hoop performance needed to rise to another level.
Creating a New Expression for the Hoop
For Kooza, I wanted to create an entirely new aerial hoop performance that truly belonged to this powerful universe, reflecting its music, energy, characters, and exceptional level of acrobatics.
The role I was stepping into was inspired by Darya Vintilova, the original trapeze artist who created this position in the show.
She had built a character with extraordinary strength, presence, and femininity. I loved the idea of honoring what she had created while bringing my own interpretation to the aerial hoop.
In Kooza, The Trickster controls almost everything: the environment, the music, the stage, and the characters surrounding him.
But this woman was different.
She was independent.
Strong-willed.
Untouchable.
She existed in her own power.
Playing this character allowed me to explore another dimension of performance: not only embodying a strong personality, but becoming part of the entire storytelling world created around the act.
This creation also pushed me technically.
I wanted this new act to reach another level, higher in the air, faster in its dynamics, and more daring in its execution.
I explored new possibilities on the hoop, including movements where the body was suspended in extreme positions and moments where the speed and dynamics became part of the storytelling.
As the artist creating this new aerial hoop position for the show, I got deeply involved in the technical creation behind the movement. This experience became a true collective artistic collaboration. Bringing this vision to life required the expertise, creativity, and trust of many different departments.
The winch programmer became an essential creative partner, transforming my ideas into precise movements in the air. I wanted the winch programming to become an extension of the choreography and the storytelling.
Every acceleration, every rise, every descent had an emotional purpose.
There was a moment where I wanted the movement of the hoop to show that The Trickster could not control me: a rapid descent toward him, followed by a slow continuation downward, as if forcing him further toward the ground, before flying free in a powerful escape.
The machine was no longer simply a technical tool.
It had its own voice within the story, becoming part of the character's expression.
The costume department adapted the design to give me the freedom required for specific movements and positions.
The musical team, guided by the band leader, worked closely with me to adapt the score to the emotional journey I wanted to create.
Every department contributed their knowledge and passion, allowing the act to become a complete experience where artistic vision, technical precision, and genuine human collaboration came together.
For me, this marked another evolution as an artist. I was given the opportunity to shape the complete world around the act:
The character.
The movement language.
The musical adjustments for this new version of the performance.
The technical environment.
The emotional impact.
For every performance in Kooza, I had the immense pleasure of stepping into this powerful character and sharing this new expression of aerial hoop.
Beyond the artistic challenge itself, Kooza gave me another precious gift: the people. I found an incredible cast, a team of artists who quickly became like a second family. The trust, generosity, and friendships we shared throughout those years became one of the most meaningful parts of this chapter.
And whenever my schedule required me to step away from this incredible touring family, I returned to another artistic love that was waiting for me:
Duo 2-zen-O.
Another creation.
Another adventure.
Another chapter ready to unfold.
Click below to discover more images from my Kooza experience.
Kooza, Cirque du Soleil