![]() Corps saw positive results on the scoresheets from the advancement of storytelling, which encouraged further propagation of the “featured individual.” Soon, many corps would jump on board with both solo dancers and featured characters. Those “close up” views, with themed characters, solo dancers, and other subtle effects had previously been difficult to observe. When ESPN televised the 2005 DCI Finals, in “multicam” (the year of “The Zone”), a large national audience got to see the activity and “zoom in” on individuals on the field. This became consequential because it allowed the audience to get a closer look at the characters, making the storyline and show concept much more compelling. Both the Cadet’s and Phantom Regiment’s programs, with characters playing such an integral part of the central theme, coincided with more use of “multi-cam video” of performances. This “milk the theme” approach would soon gain more favor. ![]() Phantom Regiment’s “Spartacus,” 2008 – Presenting their drum major for retreat In fact, the DCI website describes Phantom’s 2008 Finals performance as “marked with infectious crowd energy with calls of ‘I am Spartacus’ coming from the stands during their competitive performance and again later during the awards ceremony.” Two Championship shows, Cadets’ 2005 “The Zone” and Phantom Regiment’s 2008 “Spartacus” took the theatrical elements of storytelling to a new level, fully engaging the audience. The Color Guard, recognized (finally!) with a 2000 rule change establishing its own caption, was a major factor in the success of those corps, signaling that the guard was now approaching equality with brass and percussion. ![]() The Cavaliers (4 DCI Championships), Cadets (3), and Blue Devils (3) dominated the top spot in DCI during the first decade of the century, with the visual caption right at the forefront. Some programs were so content-dense that they required several viewings for the average fan to fully appreciate what was being presented. In addition to a flood of new equipment, sets, and props, the complex designs featured layers of content with dynamic patterns and forms. Now let’s look at: Design/Movement- 21st CenturyĪfter the turn of the century, visual designs began including so much simultaneous GE that it was often difficult for audience members to decide what to focus on. Part 4(D) examined Design and Movement in the 20th Century.
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