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Formation Changes, Staging, and Space

(This is an article from the coaching tips book -“Reach For The Stars”. For more information contact Angela Lund of S.T.A.R.S. Leadership Training www.starsleadershiptraining.com)

Formation changes and thoughtful use of the staging can make a good routine even better. Knowing how to use your space and the movements on the stage will truly enhance your routine. Many teams spend countless hours on the isolated movements within formations and spend little time on formations and transitions themselves. Teams that really focus on this element create a sense of completion to the routine. The whole performance works together and is not pieces put together in varied formations.

Begin by listing ideas for formations that you would like to incorporate. Decide when skills will be used and when specific arm movements will be emphasized. For example arm movements won’t look as impressive in one long kick line. Decide how formations will progress to each other. Formation changes should flow and be appealing to the eye. Unorganized movement takes away from the synchronized look. To create formations use chart paper with boxes printed on it. This will help the dimensions stay consistent. If you cannot locate chart paper try using Legos, candy, toys, etc. However you do it, just make sure you work with them. Vary how you move from formation to formation as well. Use footwork, skills, kicks, or just walk but change each transition to keep it interesting. Be creative. The same old thing will get boring for the audience. Spice up your look. Before you even start to choreograph –

• Listen to your music and visualize the type of moves that will go well with the music changes.
• Then…decide the formation those moves will look best in. When deciding what formation to do, take into consideration how you will move there and how many counts it will take. Formation changes shouldn’t take longer than an eight count unless you are using the formation change as visual choreography.
• Remember to vary your choreography to include kicks, footwork, walking, running, marching, etc… as you change formations. Try to use a different skill during each transition to add difficulty and variety.
• Also, pay attention to the number of formation changes you have. I recommend at least eight to ten formations in a two-minute routine. You want to use your formations without spending too much time there. Usually a measure per formation is sufficient.
• Most importantly, make sure those formation changes flow together. They should almost create a kaleidoscope effect for the audience.

Some creative ideas with formations would be too…

1. Create formations within formations.
2. Use formations with levels to give different looks to the same formation.
3. Hit formation then transition it.
4. Short one-step formation changes
5. Longer formation changes with folding and rotation.
6. Walk throughs (rainbow)
7. Use music words (“move it” or “slide to the left”)
8. Use music crescendos and decrescendos.
9. Utilize your uniform and create color changes.

Formations within formations can give dimension to your routine.

When creating the movement from formation to formation consider the stage or space you will be performing on. The stage (which may be a gym floor) is a place for communication. It is where the performance comes alive and connects with the audience. This space has very special elements that can either help your choreography or harm it. In many cases the performer/choreographers do not understand the full potential of the space being used and therefore choreograph the routine without keeping this in mind. The choreographers should be trained in the importance of staging and space to best utilize their movements which helps get the mood of their routine across to the audience.

1) Diagonal Movement: From upper corners to opposite lower corners towards the audience.

• This is a great way to enter! The audience is use to the team starting in center back, so this new way to begin will grab the attention and make the audience wonder what you are going to do. They will be on the edge of their seats!
• The choreography should get more powerful as you approach the center. If you go past center, closer to the crowd build intensity as you go, explode the movement towards the audience and then pull back. Do not stay close to the audience for long…this invades their space and comfort level.

2) Straight Forward Movement: From upstage center (top, back) through the downstage (through center moving towards the audience).

• The center is also very intense with the “dead center” being the high point.
• When in the back the audience has anticipation that you will move forward towards center. However, again the “apron” of the center…meaning the half of center closest to the audience will cause a loss of power in choreography if you stay there too long.
• Although center is a strong place to be, do not stay in center too long or you will create weakness in the routine. You must put high and low together, by creating movement from side to side or diagonally to grab the audience’s attention.

3) Across The floor side-to-side: From stage right downstage moving to the stage left (the coach’s/audiences left-to-right) in front half of floor.

• The main characteristic in the section of the stage is the personal element. It will allow the audience to get to know you.
• Do not stay here too long…but great for movement.
• Like reading a book…comfortable for audience to view.
• Withdraw back in a diagonal direction to enhance the movement. Remember you will weaken as you pull back!

From stage left downstage moving stage right (the coach’s/audiences right-to-left) in front half of floor.

• Since this is opposite of the comfortable “reading” sequence then it is a little awkward for the audience…it might be a good idea to have chaotic movement to enhance that feeling of awkwardness, then follow with backing up towards center with smoother movements to give the audience a sense of comfort again.

From stage right or left directly through center stage.

• This is the weakest area for movement.
• Great for interlocking movements.
• Possibly use interlocking transition movements with more technical downstage movement…it would be like the accompaniment of a song.

Strength of areas on the stage/floor

1. The “dead center” is the strongest spot on the floor…but remember do not stay there too long!
2. The back corners are great for entrances and exits.
3. The front corner(s) or downstage is a very personal space, depending on the mood and tone of the performance consider placing performers in the back corner as well to really give substance and strength to your routine. It will act as a strong foundation. Then, place your strongest performers in the back position, as this is the stronger of the two.
4. The back center is also a good spot to start from. Not as intense as the back corners but it will start strong and build as you go. If you pull back to this spot during the performance it will give the routine a vulnerable feel.
5. The front center, or downstage, is a very personal space…this is the least powerful of all the floor positions. Therefore, do not stay here long and pull back to the center for strength.

Remember, a routine’s strength comes in the connection it makes with the audience. You want to pull them in at all times and keep them locked into the routine. Use your movement and your space to keep it interesting and keep them engaged.