Someone please explain e=mc^2 to me, because I really don't like/g

[Pete Freedman]

Pete: To some extent you are correct; some shows only need a short explanation (or even none at all). Angels and Demons was a 'simple' concept not complex; and with the source material, along with the music arranging being very accessible and understandable to the general audience, a show like that can be communicated in a short synopsis or even just in the title alone. However, in many cases in this modern era I do not think a very short one or two sentence explanation can suffice. Cabaret Voltaire, for example, was a show based on a rather obscure philosophically complex movement in a foreign country in which the majority of people were/are unaware ever happened; that, combined with experimental music arranging styles, required much 'education' of the judges and left the majority of the audience wondering aimlessly in the dark. Moreover, that concept could not be explained in a short one or two sentence synopsis; and That is where many show designers are missing the boat. The DCI 'audience' are those general Joe Schmoes who pay to be in the seats, not the musically and artistically educated General Effect judges who get paid to adjudicate; and through observation it can be deduced that the overwhelming majority of the paying audience do not want to be 'educated' on the finer aspects of progressing the philosophical art form via the re:Rite; they appear to want, again by observation, the raw emotion from staying rather close to the original source material of Firebird. And DCI needs to be very, very aware through observation as to what they, the majority of the audience desires, because they, the audience are paying to be entertained not educated.

Of course your points about what the audience wants are painted with a broad brush, but that's been discussed ad nauseum on DCP.

Regarding Cabaret Voltaire, yes that was clearly one of the very few shows needing significant explanation to get. I would add that different people might require different levels of explanation as well. For example, the fact that it is about the dada art movement was probably in the show programs, but you generally have to pay for those so many don't have them. However, BD did divulge that info on their website.

I don't think there was a thread that successfully listed the 'meanings' of the various elements in that show, were there? The way it has been done for Crown's show this year? That suggests that no-one really found the references, and those references should exist (I think?) in dada art. That is, the elements in dada art are not random; they do have meaning, and that meaning is designed to provoke (I think?).

I have a feeling the elements in BD's show were taken from actual period dada works. This would mean that they are more an homage to dada, or a reminiscence about dada, than an actual dada work itself. (Although I do think the traditional drum riff that comes out of speakers while the drum line stands there with arms at sides is intended to be dada).

Whatever the answer is, it would have been good to make that available for those who want it.

But for me, even BD's website's explanation was not bad. It was an art movement. These are elements of that art movement. Enjoy the music and drill.

[jeffmolnar]

In fact, the narrator was a low brass horn player, the horn sgt. I think. So if one figures in the breathing control and diction maintained in counting, singing, and appropriately and consistently reciting the narration while also doing that great horn score with the simultaneous demand of the body work and rest of the visual involvement, my respect for what they perform only grows. Perhaps you might adjust your assessment in light of that appreciation while still holding true to your likes and dislikes. Thanks for sharing.

Okay, that's downright amazing. Anyone who's marched before has got to be able to appreciate that. The year I marched, my only concern in the world was trying to regulate my breathing and keep my tone from wavering during the ballad. I can't imagine having to deliver a long monologue -- in character -- projected throughout the entire stadium. Especially not after performing that opener at such a high level. I don't know what kinds of awards Crown gives out at their banquet, but hopefully that kid got one.

Like you said though, not my cup of tea. Unfortunately, it seems as if my preferred brew no longer possesses the requisite ingredients to contend for a championship.

_

Edited September 3, 2013 by jeffmolnar

[Michael Boo]

...

I think all the essential elements are in the dialog itself, except the actual phrase "Impossible, you say?"

...

That's in the original dialogue, which you can read here. What wasn't in the original dialogue was the comment, "Everything must have an end except my love for you."

[Stu]

Of course your points about what the audience wants are painted with a broad brush, but that's been discussed ad nauseum on DCP.

My points of audience observation are nothing more than comparing say the audience reaction to the first place '11 Cadets to the first place '05 Cadets.

Regarding Cabaret Voltaire, yes that was clearly one of the very few shows needing significant explanation to get. I would add that different people might require different levels of explanation as well. For example, the fact that it is about the dada art movement was probably in the show programs, but you generally have to pay for those so many don't have them. However, BD did divulge that info on their website.

I don't think there was a thread that successfully listed the 'meanings' of the various elements in that show, were there? The way it has been done for Crown's show this year? That suggests that no-one really found the references, and those references should exist (I think?) in dada art. That is, the elements in dada art are not random; they do have meaning, and that meaning is designed to provoke (I think?).

I have a feeling the elements in BD's show were taken from actual period dada works. This would mean that they are more an homage to dada, or a reminiscence about dada, than an actual dada work itself. (Although I do think the traditional drum riff that comes out of speakers while the drum line stands there with arms at sides is intended to be dada).

Whatever the answer is, it would have been good to make that available for those who want it.

But for me, even BD's website's explanation was not bad. It was an art movement. These are elements of that art movement. Enjoy the music and drill.

But I contend that, while Cabaret Voltaire was the tip end of the spectrum, the design spectrum in this modern era actually leans way more toward a deeper philosophical intellectual model than not. Even in this year's Regiment show we had Dan Ferrell out there attempting to explain the Puppet Witch and the Story Line during the Thursday Theater Event which really could not be conveyed in a short synopsis. Moreover, I contend that the crowd reaction for Crown winning this year was just as much about a first-time winner beating out a 15-time world champion as it was about 'enjoyment' of the Crown show. And again, based on overall crowd response observation of all shows from say 1995 to the present, the paying public appear to desire shows in which they can just escape from reality for a while, escape from intellectual education for a while, and just enjoy music entertainment with accessible material. This is why (both first-place shows) Angels and Demons seemed to 'work' for the crowd and The Zone did not. I get back to the Joe Schmoes who represent the general paying public in the crowd; if it takes 'education' and story synopsis to get engaged with a show the result is going to always be golf claps or going to get a hot dog at best, or them staying home by not paying those high pries for tickets at worst. This is why I personally like the idea of what Jim Mason and Chris Komnick proposed to DCI concerning the 'entertainment' aspect of judging within GE. It should be about 'the audience' not the edification of the GE judge.

Edited September 3, 2013 by Stu

[Michael Boo]

What if they made it available as an APP? $$$ ??? asks the one who still owns a rotary phone?

You reside in a living history museum?

[Michael Boo]

Perhaps they should have had John and his lover run towards each other and then crash into a major appliance.

[Stu]

You reside in a living history museum?

With a rotary phone you do not have to push all of those numbers to listen to multiple recordings; you get to jump rather quickly to speaking with a live person! THAT, is a great reason to have a rotary phone!!!

[Michael Boo]

With a rotary phone you do not have to push all of those numbers to listen to multiple recordings; you get to jump rather quickly to speaking with a live person! THAT, is a great reason to have a rotary phone!!!

I think I can usually do that by either pressing "zero" or mumbling so the computer can't figure out what I'm saying.

[Stu]

I think I can usually do that by either pressing "zero" or mumbling so the computer can't figure out what I'm saying.

Ok, if that is thee case, what is the advantage of having a push tone phone over a rotary?

[George Dixon]

My points of audience observation are nothing more than comparing say the audience reaction to the first place '11 Cadets to the first place '05 Cadets.

But I contend that, while Cabaret Voltaire was the tip end of the spectrum, the design spectrum in this modern era actually leans way more toward a deeper philosophical intellectual model than not. Even in this year's Regiment show we had Dan Ferrell out there attempting to explain the Puppet Witch and the Story Line during the Thursday Theater Event which really could not be conveyed in a short synopsis. Moreover, I contend that the crowd reaction for Crown winning this year was just as much about a first-time winner beating out a 15-time world champion as it was about 'enjoyment' of the Crown show. And again, based on overall crowd response observation of all shows from say 1995 to the present, the paying public appear to desire shows in which they can just escape from reality for a while, escape from intellectual education for a while, and just enjoy music entertainment with accessible material. This is why (both first-place shows) Angels and Demons seemed to 'work' for the crowd and The Zone did not. I get back to the Joe Schmoes who represent the general paying public in the crowd; if it takes 'education' and story synopsis to get engaged with a show the result is going to always be golf claps or going to get a hot dog at best, or them staying home by not paying those high pries for tickets at worst. This is why I personally like the idea of what Jim Mason and Chris Komnick proposed to DCI concerning the 'entertainment' aspect of judging within GE. It should be about 'the audience' not the edification of the GE judge.

While I agree that '11 Cadets program got a "bigger" reaction the '05 Cadets got a great crowd reaction as well. Personally think you are way underestimating the mentality of the masses. Many of us prefer to be moved in a thoughtful manner.