Storyboard · Storyboard . Title: Storyboard Author: User Created Date: 10/22/2014 5:30:27 AM
Trapped in Time Storyboard - [email protected]€¦ · Storyboard by Jason Shelby...
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Trapped in Time Fannin Musical Productions Storyboard by Jason Shelby [email protected] (270) 293-4106 They call it the ‘Arrow of Time’ paradox: physics tells us that at their most fundamental level, the laws of nature work just as well backwards as they do forward… the unceasing flow of time that traps us is not a fact of nature, but a product of the human mind. So, can we escape it? Based on an incredible music book by Mike Pote, Trapped in Time features a mind-bending concept which will intrigue and amaze.
Transcript of Trapped in Time Storyboard - [email protected]€¦ · Storyboard by Jason Shelby...
TrappedinTime
FanninMusicalProductionsStoryboardbyJasonShelbyjason@fanninmusic.com
(270)293-4106Theycallitthe‘ArrowofTime’paradox:physicstellsusthatattheirmostfundamentallevel,thelawsofnatureworkjustaswellbackwardsastheydoforward…theunceasingflowoftimethattrapsusisnotafactofnature,butaproductofthehumanmind.So,canweescapeit?BasedonanincrediblemusicbookbyMikePote,TrappedinTimefeaturesamind-bendingconceptwhichwillintrigueandamaze.
SetDesign
ThesetdesignforTrappedinTimefeaturesseverallargepropswhichcometogethertoformagigantic,oversizedclock.It’sdeterioration,andthenit’sreturntoorder,formthebasicarcoftheshowconcept.
Ourmostimportantprops,twomovablestagesonlarge,casterwheels,formthehandsoftheclockandserveasastagingpointforfeaturedgroupsandsoloists.TheclockeffectisfurtherenhancedbyoversizedRomannumeralswhichcanberepositionedastheclockdisintegratesandwearefreedfromtime’s‘trap.’Plansandbuild/leaseoptionsavailablethroughTigerProps.
Optionalfrontscreenpropsalongthesidelineprovideastagingpointforguardequipmentexchanges,furthermakeclearthethemesoftimeanddisorientation,andgraphicallyconnecttothevisualmotifsusedintheguardcostumingandsilks.Sketchedherewithasinglescreenononesideofthepitpercussion,largerguardsmaywanttoconsidertwowithoneoneachside.
Plansandbuild/leaseoptionsavailablethroughTigerProps,aswellashigh-qualitydigitalprinting.
Costuming&FlagDesign
ThecostumingandflagsilksforTrappedinTimeestablishaclearvisualiconographythatdemonstratetheconceptualplotline,furtherdevelopingthethemesalreadyestablishedinthepropandcostumedesigns.
OpenerEffects
TrappedinTimeopenswithallattentionfocusedontheclockfacestagingarea,andthepitpercussiontheonlymusicalvoice.Thehornlineradiatesawayfromtheslowlymovinghandswhilethecolorguardhasthefocus.Whileafeaturedperformerstandsatoptheminutehandposingandgesturing,narrationposesaframingquestion:‘...atthemostfundamentallevel,sciencetellsus,thelawsofnaturearesymmetrical...theyworkaswellgoingbackward...astheydoforward...thearrowoftimethattrapsusisnotafactofnature,butaproductofourownminds...’
Sothen...canweescapeit?’
Meanwhile,thehornlineperformsrepetitive,clockworkbodyworkuntilenteringthedrill.Onthenarrationcue,‘…goingbackward…astheydoforward…’thedrillrespondsbyhavingtwogroupspassthrougheachother,pause,andthencontinueontheirway.
Theguardlayersinwithourfirstsilkgradually,buildingvisualinterest.
Theintrigueoftheopeningscenesculminatesultimatelyinourfirstmajorarrivalpoint.Thefirstfull-ensemblemusicalmomentoftheshowisaccompaniedwithlowerbodychoreographywhilethecolorguarddeliversourfirstfull-silkvisualimpact.
Thepercussionthenbecomesboththevisualandmusicalfocuswhiletherestoftheensemblerestagesforournextscene.Thenarrationposesanotherframingquestion:‘Whatwouldhappen,werewefreefromthetrapoftime?Howwouldtherulesbreakdown?’
Inresponsetothenarration’sintimationof‘rulesbreakingdown,’thehornlineandguardrepositionthepropstosignifythedisintegrationoftheclock.
Thesetisnowtransformed,symbolizingfreedomfromtheconstraintsoftime.EachoftheRomannumeralpropsnowservesasamini-stagingareatobringfocustoadifferentmusicalgroupasdesired.
Similarly,thewoodwindmelodicideaisstagedonthehandsoftheclock,nowusedaswhilethebrass,drums,andguarddrillrevolvesaroundthenowcompletelydeconstructedtimepiece.Thesemultipurposepropsallowustochangetheentirelookofthefieldastheshowprogresses.
BalladEffects
Theclockhandpropscontinuetoshowtheirversatilityintheopeningsegmentoftheballad:abeautiful,lyricsoloforoneofyourstrongestplayers.[Sketchedhereasaflautist,thesolocouldberescoredforseveralinstruments.Allowustocustomizethisshowtofeatureyouruniquestrengths!]
Asthehandslowlyturnswiththesoloistalongfortheride,theguardbeginstolayerinwithourballadsilk.Thisoversized,op-artinspired,swirlingswingflagcreatesahypnoticeffecttomirrorthesensationofbeing‘lost’withouttime.
Finally,thefullensemblebuildsintoaglorious,maestosoarrivalpointasthefullguardspinsandswirlstheeye-catching,disorientingflags.
CloserEffects
Thefinalmovementbeginswithapercussionfocus—visuallyhighlightedbythehandsoftheclock,restagedbypartofthehornline—narrationexplainsthedrivingconceptforthemovement:‘No,weneedtime…anditneedsus…timeisnotatrap,itisaproject!…arealityweconstructourselves…’
Meanwhile—ifweaponsaredesired—thisdriving,percussivemomentistheperfecttimetofeaturethem.Therestoftheguard—ortheentireauxiliaryifnotusingweapons—performssimpledancewiththeRomannumeralsaswebegintoreconstructtheclock.
Asthemusicalvoiceslayerin,thecolorguardbeginstotranslateontotheclosersilk—afullyreconstructedclock,connectingtotheoverallthemeofthemovement.
Finally,theentireensemblebuildstowardsourlastmajorarrivalpoint.Thefullyreassembledclockbywhichwearenolongertrapped,butanintegralpart.
Whileafeaturedguardperformerstandsonthefulcrumofthetwoclockhands—sketchedhereasarifle,butcouldalsobeonaflag—thefinalmaestosostatementofthemusicalthemeismade.Sheremainsthereasthefinalbigdrillmovementoftheprogrampushestothefrontandtheclockhandsrotateexcitedly,bringingTrappedinTimetoitsexciting,triumphantend.
Fin.
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