Design Preference

[la mejor]

So I am wondering what techniques people use to design indoor shows.

Do you (or your designer) stage the show with it plotted out on paper or just have an idea in mind and let it come "organically"?

Anyone have any preferences, perspectives, experiences you could share?

[quegrawks]

So I am wondering what techniques people use to design indoor shows.

Do you (or your designer) stage the show with it plotted out on paper or just have an idea in mind and let it come "organically"?

Anyone have any preferences, perspectives, experiences you could share?

I prefer the organic method. With the pre-plotting, it can get kind of tricky with forced transitions and whatnot. However, it's always important to have in mind where impact points will take place so that you can arrange the staging to get to that place, so sometimes having an idea of where you want to be at a certain point (perhaps on paper) is beneficial. While using the "organic" method, I tend to teach work, body, and staging simultaneously and take everything the direction it needs to go. I've found that plotting everything before hand leads to problems at times with needing to restructure the staging or change work ideas. This can happen with the organic method also, but it's a little less stilting for me-- I generally have an easier time making adjustments when I use this approach.

However, if I were teaching another guard as well, and knew I couldn't be there all the time, I would write the information down on paper. This is how I started writing "drill" back in the day, because of my background with teaching marching band drill. There's nothing wrong with this method if you really carefully plot things out-- especially transitions! I often use this method as a reference point when thinking about drill-- i want this group to end up here by the end of this musical structure, and i want these people integrated here, so i need to see how this is going to flow... it's more of a visual aid than an actual plan.

Edited April 18, 2008 by quegrawks

[Will]

I tend to plan out major moments (what time they occur and what I want the formation to be) and then build around those sections, connecting the dots. If I am teaching indoor guard this works very well, BUT if it is outdoor guard I usually have most of the show written before they learn drill and then I just tweak it (in the event of pass throughs).

Most often I pop in the CD and start writing! I guess I tend to use the "organic" method more often than not. It's just easier (at least for me).

[GLG_Guard]

This question has nothing to do with what was asked of in the original topic, but I've had this burning question that I've been meaning to ask...

I'm no professional by any means when it comes to judging the design of a show; I just like what I like, no way to really explain it.

So what makes the design of certain programs good and others...lacking?

I always kind of thought it was the intricacy of the drill, the tempo at which done it, whether formations are hit, etc. I could be wrong, but I've just been wondering for the longest time...

[Will]

That is the eternal question in my mind... HAHAHA! I just design what appeals to me and what I know the kids like to do and go from there.

[mplu55]

This question has nothing to do with what was asked of in the original topic, but I've had this burning question that I've been meaning to ask...

I'm no professional by any means when it comes to judging the design of a show; I just like what I like, no way to really explain it.

So what makes the design of certain programs good and others...lacking?

I always kind of thought it was the intricacy of the drill, the tempo at which done it, whether formations are hit, etc. I could be wrong, but I've just been wondering for the longest time...

I have always taken the angle of it being all about the transitions, the more seemless you can make your show, the better off you will be in the long run.... but thats just my thought.

[Musical_Spinner]

I have always taken the angle of it being all about the transitions, the more seemless you can make your show, the better off you will be in the long run.... but thats just my thought.

You took the words out of my mouth. It's all about transitions.

[lindap]

You took the words out of my mouth. It's all about transitions.

Could you please describe transition. Is the the comma in a sentence, towards punctuation? Is it layering or dynamics? Is it a smooth method from point A to point B? If not easily described, a good example of transition may assist. I've yet to buy videos. Yes, I'm serious...thinking of getting something going up here in the north northwest. ( as per my sig) Thanks 'a'.

[quegrawks]

You took the words out of my mouth. It's all about transitions.

Transitions and connectivity between and among moments

[quegrawks]

Could you please describe transition. Is the the comma in a sentence, towards punctuation? Is it layering or dynamics? Is it a smooth method from point A to point B? If not easily described, a good example of transition may assist. I've yet to buy videos. Yes, I'm serious...thinking of getting something going up here in the north northwest. ( as per my sig) Thanks 'a'.

It's pretty much all that you just said.

For visual examples

Watch this: http://youtube.com/watch?v=B-mRmJ31Qww

then watch this: http://youtube.com/watch?v=B-mRmJ31Qww

See the differences? Not trying to bash either guard, but there are obvious design differences, especially as relates to transition, layering, and visual musicality (not dynamics--but basically the same concept).

PS-- there are tons of guard videos on youtube, but I do recommend buying at least one video-- you can put together your own video on the WGI website, which is cool.