I covered this subject in part in my blog entries, “Doug’s Helpful Hints for Visual Design: Spacing” and “Doug’s Helpful Hints for Visual Design: The Rest”. Just like my last entry dealing with Battery percussion, this will be more of a discussion rather than a quick list of guidelines. Use the links above if you’re more interested in some guidelines for staging Auxiliary. Here. We. Go.

The first advice I give any visual designer when it comes to working with any Auxiliary is to coordinate closely with the person responsible for the choreography/equipment work as they will have very helpful information, like what equipment the group will be using, whether that is flag, weapons (rifle or sabre), pom poms, or any other prop. The space between Auxiliary performers will depend heavily upon the equipment being used. Also their placement on the field will be influenced by the size and function of the equipment being used. The bigger the equipment, the bigger the space between performers and the placement can have more flexibility. Where the inverse is also true. The smaller the equipment, the smaller the space between performers and the placement on the field may be limited to the front or center. Hopefully, the Auxiliary designer is supplying a detailed blocking of equipment, equipment changes, soloists, etc. I usually ask for input from the Auxiliary designer in regards to what type of forms they would like to see at key moments in the production. I provide them with my phrasing/sketches and they can respond with “Arc”, “Block”, “Integrated”, “Pairs”, etc.

In a perfect world, the visual designer and the Auxiliary designer are communicating on a regular basis from the very beginning and it is early enough that the visual design can be flowing BEFORE the Auxiliary choreography/equipment work is written. I just said IN A PERFECT WORLD. Much of the time, in my design world the timeline is such that the Auxiliary designer is actually ahead of me. What this does is it creates issues for both designers. The visual designer may have a big move for the Auxiliary in a musical phrase where the Auxiliary designer has a dance. It’s so important that every detail be communicated. While I still feel working in the order of visual design to Auxiliary design is the best process (the opposite approach can work, but can also have its challenges). If the visual design works well and is completed first, the Auxiliary designer can actually draw inspiration and a clearer image for the choreography. As a visual designer, it’s much more difficult for me to visualize the choreography in the visual design context. I very much doubt that Bob Fosse choreographed anything without first knowing the staging/placement of the dancers.

One of the most frightening phrases for me to hear is, “Just write the drill and we’ll figure out the equipment changes”. Any equipment changes really need to be planned from the VERY BEGINNING OF PLANNING THE VISUAL DESIGN. Leaving the decisions about changes to later in the process is going to make the overall design weaker and less effective. This again emphasizes the need for good lines of communication between the Auxiliary and visual designers. Sometimes, the Auxiliary designer I’m working with will have very detailed notes throughout the production (complete with equipment/costume changes) to me at the very beginning and then I can devise a plan for the equipment changes inside the visual design. I’ll create a timeline map showing when and where the changes will happen. I do this BEFORE any design work at all. This can then be shared with the Auxiliary designer to get their input/approval so we are on the same page.

The best advice I’ve ever heard about handling equipment/costume changes is to make them part of the production. Instead of the performers all just running up to the front sideline (even if there is a low screen to hide the new equipment and actual change), maybe the performers leave sequentially to get to the new equipment and if the sequential ripple can lead the audience’s eyes away from the change, even better! Using a soloist can also be a great way to make an equipment change flow as part of the production. Have a soloist in a focal point and close to the musical source while the rest of the Auxiliary performers change equipment and are ready to introduce the new equipment after the solo. Then the soloist changes equipment while the remainder of the Auxiliary takes the focus. It’s really “Visual Design Slight of Hand”. To make that work, both the visual and Auxiliary designer have to leave margin of time and distance. Performers can’t just instantly teleport to their next piece of equipment. They need a clear pathway and time (hopefully musical in nature) to move across “green” to get there. Choosing the correct moments for changes is also paramount. Full Auxiliary support of every musical phrase is not usually needed, so that allows for these transitions to equipment to exist. Look for those in the music. The more transparent the musical texture, the more it lends itself to less visual support from the Auxiliary and also make it a more plausible moment for an equipment change.

One last thought about equipment/costume changes. If they happen multiple times during the production, spread them around the field. Yes, it may be cool to have a large prop to hide equipment/costumes with, but if EVERY change happens at that one prop in the same location of the field, it’s going to get very predictable and stale. The level of design does take a jump up if that prop is mobile throughout the program. That would help. But maybe there is a reason for one of the changes to happen from that large prop and it makes sense for that to happen to support the overall concept fo the show or a particular moment in the music. That’s cool! But seriously, there should be some variety to how equipment/costume changes are handled. Something that is a current trend in the activity is the use of low screens across the front sideline. They do help tidy things up, but if every change happens behind the screen on the front sideline, again things get predictable and stale. It also limits the design choices for the visual designer as the Auxiliary’s field placement would need to be anchored in the front 3rd of the field. This might work for a small group, but again. Variety is the best approach!

How much should the Auxiliary move during the production? My goal is to attempt to give every group I design for the best chance to achieve an effective performance of that production, that means I take the amount of responsibilities being asked of the performers into account. This is so important when designing for the Auxiliary. I honestly try to not move them unless I need to. I try to at ALL COST not have only the Auxiliary move during any given phrase. I don’t know, there may be a time when I would move only the Auxiliary during the right musical phrase or situation. Auxiliary performers need to be able to concentrate on their choreography and/or equipment work. This also applies to trying to keep the performers’ coordinates on the grid as much as possible. Giving them concrete reference points on the field such as yard lines, hash marks, midpoints, etc. as their coordinate really helps the performers.

In closing: As I’m blocking/phrasing the music for a production and thinking about the staging of the Auxiliary available, I’ll look at the different options for staging. 1. Framing: Using the Auxiliary as a frame around the entire or portion of remaining ensemble segments. 2. Integration: An approach where the Auxiliary performers are spread throughout the ensemble (usually along with Winds). 3. Curtain: Providing color/energy along the front or back boundary of the design. 4. Interior Support: Dividing the Auxiliary into groups and placing them “inside” the form(s) presented by the remainder of the ensemble. 5. Focal: The entire Auxiliary is staged in the absolute focus of the design. This is used for special feature moments.

The Auxiliary (Flags) are Framing the Winds.

The Auxiliary (Flags) are Integrated with the Winds.

The Auxiliary (Flags) in a Curtain across the front boundary.

The Auxiliary (Flags) in a Curtain across the back boundary.

The Auxiliary (Flags) used as Interior Support.

The Auxiliary (Flags) staged in the Focal.

There is a lot to consider when designing/staging the Auxiliary. I’m sure there is more I could have included here, but that’s it for now. I love to hear from readers like you. Please leave a comment and share this blog with friends!—DB

Drill Dojo Doodles

Designing/Staging of the Auxiliary (Color Guard, Dance Team, etc.)