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 Post subject: Colorguards...i'm starting to learn
PostPosted: Sun Apr 20, 2003 4:51 am 
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Location: connecticut
Coming out of the inactive state of corps activity ( the last shows attended before the 2001/2002 seasons was 1987) i'm finally starting to understand and really appreciate the work an use of the guard..heck it makes the music so much better imho. Sadly i learned this at the expense of watching a scout 2001 show. I'll never talk badly about anyone because i couldn't attempt to do 1/250th of what they try i'd honestly have broken fingers , pulled muscles and many other ailments including a crushed ego. But comparing them to other shows i watched this week there were some things i tried to figure out.
One, it seems thattthere was no communication between their unit and the other sections. It really seemed like the drll was written for the horn and drum sections then they said lets just put the guard here. To a novice and hey i may be wrong so help me if that is the case. I sensed a lack of communication, it was as if the guard could 've when to another field and did there thing. As a matter of fact even the color scheme was a bit of a distraction . They seemed to be out of the picture of forcibly put in the drill. In comparison to otther guards i was able to see movement that flowed with the music and actually painted a visible picture and i was like wow that is special. The color shemes in other corps i noticed were not the same as the other sections but it all meshed.
In a nutshell, whatever madison did it happened to seem completely opposite of other corps. Or that is the affect it had upon me.
So can someone offer me some insights into the keys to effective guards and drill and what to look for, if i go to a show just to hear the music i'm sadly missing so many beautiful things.


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PostPosted: Sun Apr 20, 2003 1:06 pm 
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It's great that you have started to take a real look at something as important as the color guard. They serve as a major portion of the show. Being a percussionist in corps I never fully appreciated the visual need for the guard until I became a guard instructor (which was by complete accident). When looking at a guard in relation to a show, and others may want to add or correct what I am saying here, you need to take into consideration the music, or sometimes the overall theme. For example, The Cadets tend to tell stories in their shows, or at least have an major definable theme. So you look at the flags and unis and see how they relate to what you feel is the theme of the show. Then you look at the overall picture and see how the corps and the visual aspect work, because it isn't just about the guard covering the visual. So to be honest if you have the opportunity to see the corps various times you may find something you may have missed the first viewing.
You are right though that some unaccomplished visual writers, design for the corps and then add the guard to fill up the negative space. This is how they learn, and as they grow, theoretically you should see the guard and corps become one. Sometimes it is very hard to think in such a non-linear way to create a show, that's why it isn't for everyone. So I hope that something I said was helpful or maybe opened some more lines of thinking.

Elliot

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 Post subject: I agree
PostPosted: Sun Apr 20, 2003 7:16 pm 
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I also think that communication is a big key. How well does the guard/corps communicate the "theme" or "feel" to the audience? I have watched and taught many guards where this was there problem. This communication brings the audience into the show. It invites the viewers to be a part of the show. When this is lacking the performance may seem boring or a drag, maybe even just a show to be watched. :wink:


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