DrumManTx Posted July 14, 2015 Share Posted July 14, 2015 People. You're being trolled so hard right now. Recognize it and let it go. Yup. I'm done. Blocked them. Quote Link to comment Share on other sites More sharing options...
boxingfred Posted July 14, 2015 Share Posted July 14, 2015 (edited) Dekalb Tour of Champions 7/12/2015 Congratulations to all the marchers for an incredible show. If the show scores were based on the marchers’ performances, it would have been a nine-way tie for first with a score of 100. Yayyyy kids! [/ positive] WARNING: The rest of this post is criticism of designers who control the activity, so if you’re unable to understand or criticize thematic design, theatrical staging and drill design stop reading now. Thanks. Also to Pavlov's drum corps planet meat puppets who continually post negative comments on my reviews with things like "Relax, dude" or "Pseudo Intellectual Crap", I have included in bold at the end of every paragraph a simplified six-word summary version that you may be able to comprehend. PS: Don't comment on this post unless you have read at least a synopsis of Dante's Inferno. That's the line of demarcation. Otherwise, you'll reveal that you're completely out of your league, and that you're a drum corps meat puppet who follows orders and is incapable of critical thinking or understanding the complex thematic designs of these shows. *** REVIEW Most of today’s DCI scores are reflective of the quality of the show design, not the execution. So, let’s give praise to the designers for their successes, and begin the evisceration for their failures. Let's hold drum corps designers accountable for their laissez faire, amateurish efforts. Let's send them their pink slips, stat. Dekalb’s Tour of Champions show revealed that many of the corps’ show coordinators and designers are amateurs with no theatrical staging experience. There. I said it. Based on some of these confusing shows, it’s clear that designers have a hard time conceiving and conveying basic dramatic action (or visual impression) with their staging. Appalling but true. Some even have trouble clarifying the main theme in their show, and designers are even having trouble setting up clear stage pictures, avoiding clichés, defining the action between characters, and trouble finding endings with resonance. (For example Blue Devils' ending had no resonance, no completion-- only a small flaw in an otherwise impeccable show.) Overall, this activity has grown so sophisticated that many of these show designers and coordinators are apparently just crumbling underneath the weight of the annual task of selecting a repertoire with a theme, and then creating a set of visual components that support that theme in a clever, original way. Dekalb’s audience was filled with erudite college graduates who are former marchers. These art-savvy watchers, despite their sophisticated palates, sat dumbfounded during many of the shows because the staging was unclear. Audiences shrugged, “I don’t’ get it.” And not like a cool Jackson Pollack “I don’t’ get it.” But like a, "I see what they’re going for, but this doesn’t work. I don’t get it.” A lot of people in the audience are saying "I don't get it." PHANTOM This show is so uneven it ends with Coco Chanel dancing with shopping bags to Lohengrin’s Elsa. Clearly an egregious mismatch in styles and lacking in any clear concept. Really really awful. Cut her at the end. (I'm not talking about the brilliant performers who are professional quality. I'm talking about the crackpot lazy designers with no experience who would actually bring back a Coco Chanel framing device to the end of freaking Elsa's Procession to the Cathedral in Lohengrin by Wagner-- she's wearing sunglasses and carrying shopping bags! My freaking God that's awful.) Phantom should change the point of focus of the show to be stepping back in time, piece by piece. Start with Coco Chanel in the 1960’s, and step back gradually and end in 1887 with the premiere of Lohengrin in Paris. By the end of the piece, we have transported back in time to 1887, the costumes have changed as we go. By the end, Coco and her sunglasses are nowhere to be found. By the end, we see a full on classical en pointe ballet troupe at the end of Elsa, maybe the opera house dance troupe in 1887. The corps exits completely transported to the 19th century Paris and all of the front facade photos are transformed to be black and white. It’s a living, breathing time machine stepping back in time. But right now, Coco Chanel re-enters with shopping bags at the end of Elsa and it gives the viewer a sick, vacuous feeling, and decimates any gravitas you’ve built up through Clair and Elsa. Device: reverse timeline, common in film, commercials and literature. What's the sunglasses lady doing in Elsa at the end? CAROLINA CROWN An exquisite, brilliant production of Dante’s Inferno with only two problems that need to be cleaned up. First, who is the red caped guy? We don’t know. We can guess who it is based on the text, (Dante, Virgil, or The Devil himself), but it’s not clear. It should be a concern to any show designer who adds a character to a show with no stage business, no objective, no interaction, no emotion, no activity and no transformation. The character disappears as quickly as he entered without any memorable lasting impact on the rest of the story. Red flag. Second, we need a big costume change under the red silk, or to break out of the silk to indicate the escape from hell which sets up the transition to the final Ode to Joy. Get it? A major emotional transition. Without this escape from hell transition, the audience is confused and wonder why the corps is upbeat all of a sudden if they’re still in hell. Recommended revisions: costume change under the blood river silk; horn line rips apart the silk and escapes hell. Devices: Journey and redemption. The last tune is happy. Why? Are they out of hell all of a sudden? BOSTON CRUSADERS Frankly, the staging in this show is confusing. We’re just not sure what the point of focus is in this show and the end, as a result, loses emotional connection. The show seems unfinished in parts, even at this late date. At some points we’re not sure if there are specific narrative elements, or just glimpses of visual pictures of the Game of Thrones era. In several parts, characters stand still without stage business or choreography, one poor young performer standing frozen for almost an entire movement in this show. (Performers, question your designers! If you feel uncomfortable, we do too! Designers work for you! Demand that the designers fix it!) When this show ends, we’re not sure what happened, we’re not sure if specific story points were being conveyed, and we’re not sure what our emotion should be. Whoever is getting paid to write these shows needs to take a couple hundred bucks out of their paycheck and take a basic directing class. And if that’s not possible, just look up character, location, stage picture, point of focus, dramatic action and resolution on Google. Boston had a similar problem with Animal Farm with no clear dramatic action or transformation or range of emotion. Recommendations: Give the red caped girl a solo—she could be your through line. Right now there isn’t one. Find a through line quick. It’s not that hard. Is this supposed to be Game of Thrones? CADETS Cadets’ Power of Ten is a thematic miscarriage. It fails just like Bluecoats’ Tilt which relied on the brazenly care-free casual theme “These composers were off kilter”. Bluecoats’ show relied on visually tilting things, an embarrassingly literal play on words, with no other social commentary or thought about the composers or why they were “off-kilter” or anything to ground the show in a thematic argument of any depth or resonance. What’s especially sad about Cadet's show is that Shostakovich’s tenth symphony was a time of amazing battle of tradition versus innovation, both of which appear in the original composition. But there’s no hint of that depth or meaning here in Cadet's show-- not even an abstract hint of any social commentary, or impressionistic nod to the time period or what this piece means to the performers or how it relates to modern day sensibilities. Any show, no matter how abstract, no matter how impressionistic or cubist or non-linear or must have some hint of depth to ground the audience—a soupcon of allusion to deeper meaning. This isn't a concert, this is a drum corps show. Sadly, this show visually is embarrassingly based on literal wordplay with no artistic merit, meaning or grounding: “Let’s play with the number ten for Shostakovich’s tenth symphony. “Okay, ten ten ten... let’s see. Let’s do something between the ten yard lines. “Oh, That’s in. “Let’s make an X which stands for ten.” “Oh that’s in. “Let’s have a quantity of ten French horns do a solo. “That’s in. “Okay we’re done. Let’s rely on the poor drill designer to do the rest!” This show design is so casually improvised around the word “ten”, so without any of the depth or richness of the original music composition's historical context, it makes you wonder where the brilliant designer of Angels and Demons is. Someone please pick a thematic argument for this show! It doesn’t need character or costumes or words or anything else but it needs some depth beyond a single meaningless, sterile word: ten. And I suggest you start with Shostakovich himself. Not a representational character, but a hint of his anarchy and struggle against tradition, rather than on the sequential number of his symphony and counting to ten. Such a really empty and dry concept. "The number ten. I get it, but, what does it mean beyond just a number?" CAVALIERS The Cavies show is technically interesting to watch, and has some understated character work by the guard which shows the raw emotions endured by dedicated sportsmen. But there’s no depth beyond that. These pairs of wrestlers or fighters do not transform in any way by the end. And that’s a shame. We’re aching to see one get hurt and the others rally around. Or one sportsman slow down at the slow motion finish line and the others drag him across. Dying to see some depth and richness of the bond between athletes. They could easily add this "finish line" set piece which would provide mountains of resonance to the ending, and add ten more points, easily. We’re dying for the humanity of these sportsmens triumphs and camaraderie to be infused into the show. Maybe these sports guys can change by the end or something. Santa Clara Santa Clara’s Tesla themed show curiously added a theme from Willy Wonka, and it’s so odd, so off-center, so delightfully unexpected and mismatched that it takes you away, and your spirit soars watching it. This show has expository problems like the rest—who is the couple dancing? Is that Tesla? None of the 15 audience members around us knew. Red flag. Give us a clue and we’ll ride with you. Recommendation: If the male dancer is Tesla, have him come in with a welder’s mask on which he removes as they begin dancing. Otherwise, you might as well put him in a Barney costume. Is that guy supposed to be Tesla or Willie Wonka? Blue Devils. This exquisite, brilliant corps starts out like gangbusters with a magical, eye-popping single visual element. Storybook characters emerging from life size storybooks. This device instantly gets the audience on board. That’s great theatrical design. That’s expository brilliance. That storybook visual encapsulates what we’re about to see-- characters from storybooks in unique interpretations. Instantly, everyone knows what will happen. Unfortunately by the end, BD completely tosses the story book into an empty garbage can. Clunk. We can’t tell what the hell the corps is doing on the zero sideline in the last number, why they’re there, and why they decide to come across for the final pass across the field at the end. Make it clear. If you're turning a page in a book, from left to right, make it clear to us. Recommendations: Have the magic flute guy, whoever that character is, we can’t tell, maybe the pied piper or magic flute guy, have him beckon the corps muddled and hiding in the sidelines to explore the field, come back out and traverse across the fifty in the final fanfare. Then we know who he is. He is the muse who ignites our sense of story and invites us to come listen. Otherwise, without this final action, there is no resonance in the final moments. No one gets who he is, and you flush your final resonance down the old first place toilet. The only other way to build resonance into the end is to have all the characters pop back into their story books at the end, a framing device. Whoever Blue Devils’ designers are, they seem to have taken a right turn away from that horrible spell where they were doing overly-abstract garbage with people tight rope walking down the 50 for absolutely no reason, and establishing no pattern, stumbling around with plenty of elephant tusks and not a shred of relatability or narrative grounding, and now they’re enjoying the spoils of story, in this case, narrative and linear, but it doesn’t always have to be. Just breathtakingly brilliant. Wow. The future of the activity. BD should change the ending. Why the end zone? PS: Don't bother posting comments to this thoughtful review like "Did you even march." Or "I've won a lot of awards." Or "LOL." If you think this is nonsensical garbage, you have no idea what you're watching when you see a corps show and you sound like an absolute troglodyte. Why do you even go to corps shows if you don't understand them, you ridiculous meat puppets? As my niece would say, POMPOUS MUCH?! Edited July 14, 2015 by boxingfred 4 Quote Link to comment Share on other sites More sharing options...
Tobias Posted July 14, 2015 Share Posted July 14, 2015 People. You're being trolled so hard right now. Recognize it and let it go.This. 1 Quote Link to comment Share on other sites More sharing options...
N.E. Brigand Posted July 14, 2015 Share Posted July 14, 2015 From what I remember from reading the book (Inferno) seven years ago, the characters left Hell at the very end of the book. Absolutely right. Virgil leads Dante through the nine descending circles of Hell, which is basically a big pit whose base is the very center of the earth. There they find Satan trapped in a frozen lake, with his enormous wings beating up a furious wind. They have to climb down Satan's torso, through the ice, and then they turn around because down is now up. They follow a long tunnel from the center of the earth to its exit onto the surface on the opposite side of the world, and see the stars. The story continues from there in Purgatorio and Paradiso. Quote Link to comment Share on other sites More sharing options...
RomanCavalry Posted July 15, 2015 Share Posted July 15, 2015 PHANTOM This show is so uneven it ends with Coco Chanel dancing with shopping bags to Lohengrin’s Elsa. Clearly an egregious mismatch in styles and lacking in any clear concept. Really really awful. Cut her at the end. (I'm not talking about the brilliant performers who are professional quality. I'm talking about the crackpot lazy designers with no experience who would actually bring back a Coco Chanel framing device to the end of freaking Elsa's Procession to the Cathedral in Lohengrin by Wagner-- she's wearing sunglasses and carrying shopping bags! My freaking God that's awful.) Phantom should change the point of focus of the show to be stepping back in time, piece by piece. Start with Coco Chanel in the 1960’s, and step back gradually and end in 1887 with the premiere of Lohengrin in Paris. By the end of the piece, we have transported back in time to 1887, the costumes have changed as we go. By the end, Coco and her sunglasses are nowhere to be found. By the end, we see a full on classical en pointe ballet troupe at the end of Elsa, maybe the opera house dance troupe in 1887. The corps exits completely transported to the 19th century Paris and all of the front facade photos are transformed to be black and white. It’s a living, breathing time machine stepping back in time. But right now, Coco Chanel re-enters with shopping bags at the end of Elsa and it gives the viewer a sick, vacuous feeling, and decimates any gravitas you’ve built up through Clair and Elsa. Device: reverse timeline, common in film, commercials and literature. What's the sunglasses lady doing in Elsa at the end? Wanna point out that I made a DCP account after being inactive on these forums for about ten years, just before I started my marching career, to come on here and point this out... Sir, there is no Elsa's at the end of the show. Either you're trolling or you can't tell when the show ended and when Regiment did their encore. 3 Quote Link to comment Share on other sites More sharing options...
BRASSO Posted July 15, 2015 Share Posted July 15, 2015 (edited) Dekalb Tour of Champions 7/12/2015 Congratulations to all the marchers for an incredible show. If the show scores were based on the marchers’ performances, it would have been a nine-way tie for first with a score of 100. Yayyyy kids! [/ positive] WARNING: The rest of this post is criticism of designers who control the activity, so if you’re unable to understand or criticize thematic design, theatrical staging and drill design stop reading now. Thanks. Also to Pavlov's drum corps planet meat puppets who continually post negative comments on my reviews with things like "Relax, dude" or "Pseudo Intellectual Crap", I have included in bold at the end of every paragraph a simplified six-word summary version that you may be able to comprehend. PS: Don't comment on this post unless you have read at least a synopsis of Dante's Inferno. That's the line of demarcation. Otherwise, you'll reveal that you're completely out of your league, and that you're a drum corps meat puppet who follows orders and is incapable of critical thinking or understanding the complex thematic designs of these shows. *** REVIEW Most of today’s DCI scores are reflective of the quality of the show design, not the execution. So, let’s give praise to the designers for their successes, and begin the evisceration for their failures. Let's hold drum corps designers accountable for their laissez faire, amateurish efforts. Let's send them their pink slips, stat. Dekalb’s Tour of Champions show revealed that many of the corps’ show coordinators and designers are amateurs with no theatrical staging experience. There. I said it. Based on some of these confusing shows, it’s clear that designers have a hard time conceiving and conveying basic dramatic action (or visual impression) with their staging. Appalling but true. Some even have trouble clarifying the main theme in their show, and designers are even having trouble setting up clear stage pictures, avoiding clichés, defining the action between characters, and trouble finding endings with resonance. (For example Blue Devils' ending had no resonance, no completion-- only a small flaw in an otherwise impeccable show.) Overall, this activity has grown so sophisticated that many of these show designers and coordinators are apparently just crumbling underneath the weight of the annual task of selecting a repertoire with a theme, and then creating a set of visual components that support that theme in a clever, original way. Dekalb’s audience was filled with erudite college graduates who are former marchers. These art-savvy watchers, despite their sophisticated palates, sat dumbfounded during many of the shows because the staging was unclear. Audiences shrugged, “I don’t’ get it.” And not like a cool Jackson Pollack “I don’t’ get it.” But like a, "I see what they’re going for, but this doesn’t work. I don’t get it.” A lot of people in the audience are saying "I don't get it." PHANTOM This show is so uneven it ends with Coco Chanel dancing with shopping bags to Lohengrin’s Elsa. Clearly an egregious mismatch in styles and lacking in any clear concept. Really really awful. Cut her at the end. (I'm not talking about the brilliant performers who are professional quality. I'm talking about the crackpot lazy designers with no experience who would actually bring back a Coco Chanel framing device to the end of freaking Elsa's Procession to the Cathedral in Lohengrin by Wagner-- she's wearing sunglasses and carrying shopping bags! My freaking God that's awful.) Phantom should change the point of focus of the show to be stepping back in time, piece by piece. Start with Coco Chanel in the 1960’s, and step back gradually and end in 1887 with the premiere of Lohengrin in Paris. By the end of the piece, we have transported back in time to 1887, the costumes have changed as we go. By the end, Coco and her sunglasses are nowhere to be found. By the end, we see a full on classical en pointe ballet troupe at the end of Elsa, maybe the opera house dance troupe in 1887. The corps exits completely transported to the 19th century Paris and all of the front facade photos are transformed to be black and white. It’s a living, breathing time machine stepping back in time. But right now, Coco Chanel re-enters with shopping bags at the end of Elsa and it gives the viewer a sick, vacuous feeling, and decimates any gravitas you’ve built up through Clair and Elsa. Device: reverse timeline, common in film, commercials and literature. What's the sunglasses lady doing in Elsa at the end? CAROLINA CROWN An exquisite, brilliant production of Dante’s Inferno with only two problems that need to be cleaned up. First, who is the red caped guy? We don’t know. We can guess who it is based on the text, (Dante, Virgil, or The Devil himself), but it’s not clear. It should be a concern to any show designer who adds a character to a show with no stage business, no objective, no interaction, no emotion, no activity and no transformation. The character disappears as quickly as he entered without any memorable lasting impact on the rest of the story. Red flag. Second, we need a big costume change under the red silk, or to break out of the silk to indicate the escape from hell which sets up the transition to the final Ode to Joy. Get it? A major emotional transition. Without this escape from hell transition, the audience is confused and wonder why the corps is upbeat all of a sudden if they’re still in hell. Recommended revisions: costume change under the blood river silk; horn line rips apart the silk and escapes hell. Devices: Journey and redemption. The last tune is happy. Why? Are they out of hell all of a sudden? BOSTON CRUSADERS Frankly, the staging in this show is confusing. We’re just not sure what the point of focus is in this show and the end, as a result, loses emotional connection. The show seems unfinished in parts, even at this late date. At some points we’re not sure if there are specific narrative elements, or just glimpses of visual pictures of the Game of Thrones era. In several parts, characters stand still without stage business or choreography, one poor young performer standing frozen for almost an entire movement in this show. (Performers, question your designers! If you feel uncomfortable, we do too! Designers work for you! Demand that the designers fix it!) When this show ends, we’re not sure what happened, we’re not sure if specific story points were being conveyed, and we’re not sure what our emotion should be. Whoever is getting paid to write these shows needs to take a couple hundred bucks out of their paycheck and take a basic directing class. And if that’s not possible, just look up character, location, stage picture, point of focus, dramatic action and resolution on Google. Boston had a similar problem with Animal Farm with no clear dramatic action or transformation or range of emotion. Recommendations: Give the red caped girl a solo—she could be your through line. Right now there isn’t one. Find a through line quick. It’s not that hard. Is this supposed to be Game of Thrones? CADETS Cadets’ Power of Ten is a thematic miscarriage. It fails just like Bluecoats’ Tilt which relied on the brazenly care-free casual theme “These composers were off kilter”. Bluecoats’ show relied on visually tilting things, an embarrassingly literal play on words, with no other social commentary or thought about the composers or why they were “off-kilter” or anything to ground the show in a thematic argument of any depth or resonance. What’s especially sad about Cadet's show is that Shostakovich’s tenth symphony was a time of amazing battle of tradition versus innovation, both of which appear in the original composition. But there’s no hint of that depth or meaning here in Cadet's show-- not even an abstract hint of any social commentary, or impressionistic nod to the time period or what this piece means to the performers or how it relates to modern day sensibilities. Any show, no matter how abstract, no matter how impressionistic or cubist or non-linear or must have some hint of depth to ground the audience—a soupcon of allusion to deeper meaning. This isn't a concert, this is a drum corps show. Sadly, this show visually is embarrassingly based on literal wordplay with no artistic merit, meaning or grounding: “Let’s play with the number ten for Shostakovich’s tenth symphony. “Okay, ten ten ten... let’s see. Let’s do something between the ten yard lines. “Oh, That’s in. “Let’s make an X which stands for ten.” “Oh that’s in. “Let’s have a quantity of ten French horns do a solo. “That’s in. “Okay we’re done. Let’s rely on the poor drill designer to do the rest!” This show design is so casually improvised around the word “ten”, so without any of the depth or richness of the original music composition's historical context, it makes you wonder where the brilliant designer of Angels and Demons is. Someone please pick a thematic argument for this show! It doesn’t need character or costumes or words or anything else but it needs some depth beyond a single meaningless, sterile word: ten. And I suggest you start with Shostakovich himself. Not a representational character, but a hint of his anarchy and struggle against tradition, rather than on the sequential number of his symphony and counting to ten. Such a really empty and dry concept. "The number ten. I get it, but, what does it mean beyond just a number?" CAVALIERS The Cavies show is technically interesting to watch, and has some understated character work by the guard which shows the raw emotions endured by dedicated sportsmen. But there’s no depth beyond that. These pairs of wrestlers or fighters do not transform in any way by the end. And that’s a shame. We’re aching to see one get hurt and the others rally around. Or one sportsman slow down at the slow motion finish line and the others drag him across. Dying to see some depth and richness of the bond between athletes. They could easily add this "finish line" set piece which would provide mountains of resonance to the ending, and add ten more points, easily. We’re dying for the humanity of these sportsmens triumphs and camaraderie to be infused into the show. Maybe these sports guys can change by the end or something. Santa Clara Santa Clara’s Tesla themed show curiously added a theme from Willy Wonka, and it’s so odd, so off-center, so delightfully unexpected and mismatched that it takes you away, and your spirit soars watching it. This show has expository problems like the rest—who is the couple dancing? Is that Tesla? None of the 15 audience members around us knew. Red flag. Give us a clue and we’ll ride with you. Recommendation: If the male dancer is Tesla, have him come in with a welder’s mask on which he removes as they begin dancing. Otherwise, you might as well put him in a Barney costume. Is that guy supposed to be Tesla or Willie Wonka? Blue Devils. This exquisite, brilliant corps starts out like gangbusters with a magical, eye-popping single visual element. Storybook characters emerging from life size storybooks. This device instantly gets the audience on board. That’s great theatrical design. That’s expository brilliance. That storybook visual encapsulates what we’re about to see-- characters from storybooks in unique interpretations. Instantly, everyone knows what will happen. Unfortunately by the end, BD completely tosses the story book into an empty garbage can. Clunk. We can’t tell what the hell the corps is doing on the zero sideline in the last number, why they’re there, and why they decide to come across for the final pass across the field at the end. Make it clear. If you're turning a page in a book, from left to right, make it clear to us. Recommendations: Have the magic flute guy, whoever that character is, we can’t tell, maybe the pied piper or magic flute guy, have him beckon the corps muddled and hiding in the sidelines to explore the field, come back out and traverse across the fifty in the final fanfare. Then we know who he is. He is the muse who ignites our sense of story and invites us to come listen. Otherwise, without this final action, there is no resonance in the final moments. No one gets who he is, and you flush your final resonance down the old first place toilet. The only other way to build resonance into the end is to have all the characters pop back into their story books at the end, a framing device. Whoever Blue Devils’ designers are, they seem to have taken a right turn away from that horrible spell where they were doing overly-abstract garbage with people tight rope walking down the 50 for absolutely no reason, and establishing no pattern, stumbling around with plenty of elephant tusks and not a shred of relatability or narrative grounding, and now they’re enjoying the spoils of story, in this case, narrative and linear, but it doesn’t always have to be. Just breathtakingly brilliant. Wow. The future of the activity. BD should change the ending. Why the end zone? PS: Don't bother posting comments to this thoughtful review like "Did you even march." Or "I've won a lot of awards." Or "LOL." If you think this is nonsensical garbage, you have no idea what you're watching when you see a corps show and you sound like an absolute troglodyte. Why do you even go to corps shows if you don't understand them, you ridiculous meat puppets? 'Love the honest and bold assessment, Channel 3, but jeez, don't you think it was a bit too excessive in what you did not like, and not much on what you did like ( like a bit more than your perfunctory stated appreciation for the marchers for at least showing up and performing ) in the 3-4 hours you spent at the show ? How was the food, stadium facilities, seats, weather, parking,, etc ? Or was it ALL just a total waste of an entire evening out of your life as the adults in every one of these Corps apparently ruined it ALL for your possible enjoyment ? Edited July 15, 2015 by BRASSO Quote Link to comment Share on other sites More sharing options...
noahsigs Posted July 15, 2015 Share Posted July 15, 2015 To me, it seems like Drum Corps has been having a huge identity crisis since 1993. Some people want and love crowd pleasing, awesome shows that show off technical skill talent, and some people want nuance, don't care about recognizable music, and want every note and drill move to have a purpose. Personally, I think there's room for both! But in my point of view, I really would wish that a show would stick to one or another, rather than making some kind of confusing hybrid of the two, though some do pull this off extraordinarily well (I'm looking at you Out of This World and Spartacus). I actually haven't seen a show that's fully transitioned into the second category (except for possibly Felliniesque), and as a part of the silly youngins I would actually REALLY appreciate more of it, there's no reason to not love the first! So... yeah. I realize that I'm young and I don't know much, but as they say, "If you want the right answer, don't ask a question, post the WRONG answer." I'd really really love to hear some of you more experienced folks post their thoughts on this subject! And I apologize for any unfounded confidence or ignorance :P Quote Link to comment Share on other sites More sharing options...
GUARDLING Posted July 15, 2015 Share Posted July 15, 2015 To me, it seems like Drum Corps has been having a huge identity crisis since 1993. Some people want and love crowd pleasing, awesome shows that show off technical skill talent, and some people want nuance, don't care about recognizable music, and want every note and drill move to have a purpose. Personally, I think there's room for both! But in my point of view, I really would wish that a show would stick to one or another, rather than making some kind of confusing hybrid of the two, though some do pull this off extraordinarily well (I'm looking at you Out of This World and Spartacus). I actually haven't seen a show that's fully transitioned into the second category (except for possibly Felliniesque), and as a part of the silly youngins I would actually REALLY appreciate more of it, there's no reason to not love the first! So... yeah. I realize that I'm young and I don't know much, but as they say, "If you want the right answer, don't ask a question, post the WRONG answer." I'd really really love to hear some of you more experienced folks post their thoughts on this subject! And I apologize for any unfounded confidence or ignorance :P 1st don't apologize at all. You can read through many threads and see many view the same activity different. Taste is also subjective. you are right though IMO that there should be room for everything. where it gets cloudy is although there should be everything how it is done. by whom it is done(yeah I will have people saying NO! but face facts it is very true and a good designer knows it ) and to what degree of excellence always becomes debate. i also think sometimes,( without examples )some corps think following another or because something was successful for another will work for them, almost never does this happen.You are also right that some feel there needs to be meaning, some deep meaning to every note and every step in an 11 min. production. That's kinda crazy if you think about it. ,it's not a 4 hour movie , it's minutes so a corps brings the flavor the theme to life and for the most part most do a great job given the time frame, I dont think drum corps in general have any identity crisis since the early 90s although some will say it's been like that since the early 70s bUT corps can get wrapped up in what they want to be or a clear vision. To many hands in the pot can do this among other things. You also have to remember imo that sometimes to stay current and by current i mean for competitive purpose one must look at many aspects, carefully. Some are very successful at it some struggle through the season with it. My little contribution to your question might say alot or nothing at all to you. Just my offer as a person very deeply entrenched in our history BUT current to the point of ready to head back on tour again soon after a break . You can and will get many versions of what you ask. i will tell you as i tell my students who age out and take on jobs in the activity. Take what you have learned from me and others, throw out the bad in your opinion keep the good and form your own. 2 Quote Link to comment Share on other sites More sharing options...
Channel3 Posted July 25, 2015 Share Posted July 25, 2015 Wanna point out that I made a DCP account after being inactive on these forums for about ten years, just before I started my marching career, to come on here and point this out... Sir, there is no Elsa's at the end of the show. Either you're trolling or you can't tell when the show ended and when Regiment did their encore. Thanks, I fixed the typo and put in the correct piece, Saint Saen's organ symphony. Same era 1870's. Same concept. We're going backwards in time and Coco should not reappear at the end. Quote Link to comment Share on other sites More sharing options...
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