Cirque du soleil porters five forces

The logic at Blue Ocean Strategy is not about technology innovation. Blue oceans seldom result from technological innovation. Most blue oceans are created from within, not beyond, the red oceans of existing industries, Actual often create blue oceans within their core businesses. I am about to tell you a story that still amazes me, Cirque du Soleil.

Cirque du soleil porters five forces

Photo by Kyle Cooper. Dancers frolic to a live mariachi band while stilt-walker parades the grounds in character as a puppeteer with a lively, mime-like puppet performer moving delicately beneath her strings.

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The energy is electric with anticipation from hopeful attendees. As spectators enter the big top, they are treated to free popcorn and drinks as they mill about taking in the wide array of LUZIA souvenirs.

A large circular sun-like object hangs as a backdrop to the round stage, circled in yellow marigolds. On the front of the stage, an oversized ornate key rests. The parachutist lands upon the stage and takes in his surroundings.

Shelli Epstein plays the butterfly who is joined on stage by a great metallic horse. Epstein takes flight as she gracefully runs on the stage, whose center is delightfully revealed to be made up of two enormous treadmills.

Through act after act, both the traveler and the audience are taken on a fluid, dream-like journey through the reimagined wonders of Mexico.

Every moment is filled with the most amazing of acrobatic circus feats performed both on the ground of the degree rotating stage and in the air above. A flock of seven acrobatic hummingbirds fly across the rotating treadmill stage, leaping through a series of hoops no larger than 30 inches in diameter.

Three porters fling an acrobat into the air where she performs intricate flips in a nod to the golden age of Mexican cinema.

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Rolling among agave plants, two Cyr Wheel artists, Angelica Bongiovonni and Rachel Salzman, intricately spin around the stage to be joined by trapeze artist, Enya White. As the Cyr Wheels spin and the Trapeze flies, the rain begins. It is one thing to see skilled acrobats leaping, tumbling and swinging on the ground and through the air, but it is an entirely different experience when coupled with doing so while under a curtain of rain.

At one point, the rain curtain is used to create two-dimensional images from water droplets and blank spaces, evoking a unique sense of wonder among the spectators. A strongman lifeguard, Ugo Laffolay, gradually builds two rows of flexible canes atop his buoy where he balances and performs two-handed and one-handed feats atop the growing towers.

Laura Biondo and Abou Traore attempt to outdo each other in a display of soccer ball manipulation that outdoes the most skilled soccer players. In a setting that calls to peyote-infused hallucinations, acrobats slide along a series of poles and bound from one to the next.

A luchador swings high through the air in tribute to the Mexican sport of professional wrestling. LUZIA goes even deeper into Mexico by delving into the depths of a cenote, a naturally occurring sinkhole the Mayans believed to be gateways to the afterlife.

Benjamin Courtenay represents a demigod of rain as he performs his Aerial Straps act above the water of the cenote. His strength and grace not only wins over the audience but also tames a life-sized jaguar puppet.

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From the depths of the cenote, LUZIA rises into a playful number as Rudolf Janecek juggles seven silver pins at breakneck speeds while the marimba plays in the background. The audience is then treated to the wonder of contortionist Aleksei Goloborodko as he bends and folds breaking the limitations of the human body.

Two giant swings are placed facing one another on the turntable stage where nine performers rotate flinging 33 feet through the air. This slideshow requires JavaScript. The show concludes as the traveler happens upon a gathering of all of the characters he has encountered throughout the journey into LUZIA.

They are all congenially congregated around a table in festive celebration. The key is turned on stage once more by the traveler and all motion ceases. As is only fitting for such a marvel of a show as LUZIA, the audience applauded in an uproarious standing ovation on its opening night.Apart from being the world leader in circus arts, Cirque Du Soleil is now the largest theatrical producer in the world, generating up to $ million in annual revenues.

The company’s shows are renowned around the world for their high-flying acrobatics, elaborate costumes and sets, but there is something just as equally important: athletics.

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Innovate and create like Cirque du soleil. A recent article by AT Kearney (“Playing the New Strategy Chessboard”) makes an attempt at finding an overall framework for the various strategy theories that have been in fashion over the last fifty years or so -- illustrating how Porter’s Five Forces, Slywotzky’s Profit Patterns, Prahalad and Hamel’s Competing for the Future, Kim and.

Cirque du soleil porters five forces

Cirque du Soleil’s “Crystal”: The psychedelic circus’s brand-new touring show transfers Cirque’s acrobats and gymnasts to the chilly realm of ice-skating for the first time in the.

However, Cirque du Soleil followed what can be called a Blue Ocean strategy wherein it replaced the animals and reduced the importance of individual stars and created an entirely new business model based on a combination of music, dance, and athletic shows to innovate and create value for itself.

Download-Theses Mercredi 10 juin The co-founder of Cirque du Soleil has sold all but 10% of the company and is evidently looking for something to occupy his time. In Guy Laliberté floated the idea of redeveloping Saint Helen’s Island, a heritage site owned by the city of Montreal, into a “memorial park” for the dead.

Fossil Group, Inc. Porter Five (5) Forces & Industry Analysis [Strategy]