down and even performs a handstand on top of a tall, freestanding ladder. Teatro Intimo: The characters try to perform Romeo & Juliet. Duo-Straps: Using sheer strength, a duo performed suspended from long cords, swinging around the stage. Tournik: An original act that takes the traditional high bar apparatus, but creates a twist by fusing four high bars to make a cube. Acts in Rotation Diabolo: An artist manipulates diabolos. Vocal aerial silk: A unique rotational act that was performed by Marie-Michelle Faber and is now being performed by Aurélie Dauphin; she performs an extravagant tissu act while singing. Retired acts Not so serious: A fiery act that involved two female and a male rhythmic gymnast, they used hoops, ribbons and balls in this act. Aerial straps solo: A lone artist swung across the stage clinging to a pair of long cords. Tightrope: A solo artist walked a tightwire barefoot or in ballet pointe shoes; the act also involved props such as hula hoops and a unicycle. Acro duet: A couple performed stunning acrobatic feats. The man threw the woman in the air; she somersaulted and landed, and they would unite again for the next trick. Duo adagio: On a rotating platform, two artists used strength and balance as they contorted themselves into many beautiful poses. Foot juggling: Elegance, dexterity and coordination are wrapped up in one character who carries us away to a world tied to the traditions of old-time circus, in which Mauro and his friends once played. CostumesCorteos costume designer, Dominique Lemieux, utilized "matériaux bruts et des matières nobles" (French for "raw and luxury fabrics") to create a wardrobe that accentuated the artists' natural beauty. The finer details of the outfits were inspired by European styles between 1890 and 1930. The color palette chosen was soft in nature, including blue, pink, and fuchsia along with copper and gold hues. In order to create a worn-in, hand-me-down style of clothing, the costumes were airbrushed and dyed. Common fabrics throughout the wardrobe included silk, linen, and cotton, which were adorned with beaded lace, sequins, and gemstones. In total, more than 900 fabrics were utilized to create the 184 costumes. If back-up and rotational costumes are to be taken into account, the total costume count was around 450 costumes with 284 rotations. During each show day, 12 to 16 hours of ironing was necessary to prepare the costumes. The performers