Showing posts with label rhythmic gymnastics. Show all posts
Showing posts with label rhythmic gymnastics. Show all posts

Wednesday, June 26, 2019

Ballet Idea - Neko Nabe

So I had this idea for a slice-of-life ballet set in a restaurant where a human waitstaff serves cat customers. All the romance and visual euphemism and innuendo of traditional ballet is converted to the romance between the cats and their meals. I call it Neko Nabe.
 
Nabeneko San from Neko Atsume
 
Act 1

1st dance (solo) - The curtain opens on a darkened restaurant. The backdrop is a city scene viewed through the restaurant's windows. The Host enters and dances while setting up the restaurant for the day - turning on the lights, sweeping, taking the chairs off the tables, etc. The stage lights create a sunrise in the background.

 2nd dance (group) - One by one, three Waiters arrive and get ready for work - neatening their uniforms, tying on aprons, putting out glasses and silverware, etc. They dance solo, in duets with the Host, and with each other. This dance emphasizes the camaraderie of the staff and the easygoing environment of their workplace. of A bell rings every time someone opens the door.

3rd dance (group) - The Postmaster Cat arrives to deliver the mail to to dance with each of the Waiters and the Host. This is a quick piece, and demonstrates the familiarity the staff has with their regular visitors.
 
Ekicho San from Neko Atsume
 
4th dance (solo) - The first Cat Customer (a human in a cat costume) arrives and orders a meal. This is a dance of hunger and longing, as the customer communicates its desire for food.

5th dance (group) - One by one, the three Waiters bring out Fish (either humans in fish costumes or 5' tall cutouts of fish) and present them to the Cat Customer. Each waiter tries to convince the customer to select this fish, then the three dance together to conclude the presentation. The dance concludes as the customer selects a fish, and the other two are returned to the kitchen. One waiter seems disappointed their dish wasn't chosen. The waiters and host sit to watch the next dance.

6th dance (duet) - The Cat Customer dances with the chosen Fish. This is a very romantic dance, incorporating all the tropes of courtship and consummation. At the end of the dance, the fish disappears offstage, and the customer takes a seat near the kitchen.
 
Kafe San from Neko Atsume
 
7th dance (group) - A second Cat Customer arrives. This customer is a realistic cat puppet that immediately hops up on a table. The three Waiters bring out dishes on large silver trays covered with cloches. Again, each waiter competes with the other two to give the most tempting and hospitable presentation to the customer. This is really the waiters' time to shine, and ideally includes some tap dancing along with the traditional ballet. The customer appears thoughtful, then selects a dish. The frustrated waiter is again disappointed not to be chosen, this time in a more exaggerated and comical way. Again, the waiters retreat to watch alongside the host and first customer.

8th dance (solo) - The Cat Customer puppet performs a solo dance with a plush toy of a fish as a prop. The puppet imitates traditional ballet moves. Some are very impressive (and would be physically impossible for someone who isn't a puppet, such as jumps with incredible air time), others include humorous slips and pratfalls. The waiters, host, and other customer all clap and act very impressed, but this should be played for comedy for the real audience.

That seems like a showstopper, so let's go ahead and stop the show and have an INTERMISSION after that!

Bisutoro San from Neko Atsume
 
Act 2

9th dance (group) - The curtain reopens, and a new customer comes in, a Cat Parent (a human dancer in a cat costume) and numerous Cat Children (child dancers in costume). The puppet customer remains seated on a table near the kitchen. The parent dances with the children, and the children dance around the stage, exploring the restaurant.

10th dance (group) - The Waiters hand out fish to the Cat Children (some are simple paper cutouts, at least one fish pinwheel and one fish kite). The children dance with their fish while their parent takes a seat, but eventually, the kids entice the Cat Parent to stand up and dance with them and their fish.

11th dance (duet) - The Postmaster Cat returns after work, dances around the children, and dances a duet with the Cat Parent. They are a couple, but theirs is an established, familiar relationship, and they are both tired after a long day. They dance support and reassurance to each other, with each taking a turn to do more of the work. The Cat Children sit to watch their two parents dance. Halfway through, the Waiters serve two fish (large paper cutouts) to the parents, and they continue their duet with the fish props. At the end of the dance, the children stand up and join the postmaster, while their original parent takes a seat near the kitchen.
 
Sebasu San from Neko Atsume
 
12th dance (duet) - An elderly Cat Couple enters the restaurant and dances a duet with each other. They have been in love a long time, and although they are not as athletic as they used to be, they have a tender, romantic duet.

13th dance (group) - The three Waiters present the Cat Couple with dessert options. This dance has the feeling of a contest between the waiters, and the frustrated waiter has a brief solo after each of the other two. After pulling out all the stops, the couple selects the frustrated waiter's desert, and the waiter is comically triumphant.

14th dance (group) - The Cat Couple begins to repeat their romantic duet. They are joined by a personification of their Dessert (a human dancer in a costume). Over the course of the dance, we see the couple remembering their life together. At one point they are joined by two Cat Children playing tag. Later we see a younger version of the Cat Couple dancing a courtship. Later we see a Cat Couple in wedding clothes. Costume details (including both the cat coloration and the color and style of their clothes) help establish continuity. The elderly couple continues dancing alone, and are joined by the other two desserts, the three Waiters, and the Owner.

Again, that seems like a showstopper, so let's go ahead and stop the show right there and let all the dancers take their bows. The three Waiters and the Owner tidy up the restaurant while everyone else is bowing, reversing what the owner did to open the shop at the beginning of the show.
 
Manzoku from Neko Atsume
 
The music should be light and happy. I don't know enough about the classical canon to pick a good soundtrack. The idea came to me while listening to the instrumental dance break in the song "King of New York" in the Newsies musical, which sounds to me like very good music for presenting cats with silver cloches of food.

As a concluding thought though, here's "Kuroneko No Tango" as performed by Pink Martini & the Von Trapps.
 
   

Friday, March 31, 2017

Rhythmic Gymnast Bard Casts "Light"

Another recent story from the Gray Lady includes an illustration of a rhythmic gymnast looking rather magical. Seen here, a bard uses her ribbon apparatus to cast light, illuminating a rather dark situation.

illustration by Eleni Kalorkoti

Saturday, October 22, 2016

Rhythmic Gymnastic Vivimancy

A recent dispatch from the Gray Lady has given me the idea that a select group of bards from the College of Rhythmic Gymnastics might use their performances to alter the life-cycle and their own biology.

When such bards are inducted into the mystery of life magic, they replace the entire 5e spell-list with Vivimancer spell-list from The City of Iron's Complete Vivimancer (or from Theorems & Thaumaturgy.) I will leave it (for now) for interested players and judges to decide for themselves how to link these spells to the bard's apparatuses.

Seen below, a high-level bard uses the ball apparatus to cast impregnate (reversed.)

"How to stop your period" by Xaviera Lopez

Wednesday, September 7, 2016

5e Characters I Want to Play - College of Rhythmic Gymnastics Bardic Archetype

COLLEGE OF RHYTHMIC GYMNASTICS

Bards of the College of Rhythmic Gymnastics are acrobats and dancers whose graceful movements express ageless truths and wordless poetry. Rhythmic gymnasts focus their efforts on the perfection of their own minds and bodies, preferring to improve themselves more than instructing others. Their performances recreate the movements of stars and snowflakes, and preserve the patterns of civilizations long past. Their exercises allow them to move with a precision and control that few others can match. Whether audiences appear to appreciate their efforts is beside the point. Rhythmic gymnasts are at once the most physical and the most-inward looking of bards, their routines fueling a kind of auto-hypnotic trance that facilitates healing, self-inspiration, and spell-casting. Rhythmic gymnasts work with four types of apparatus - the ball, the clubs, the hoop, and the ribbon - and their mastery over these instruments is unparalleled.

Rhythmic gymnasts study in schools called Gymnasiums, where they practice dance and tumbling, play musical instruments, recite poetry, and read classical literature. Rhythmic gymnasts believe in liberal education and a unified curriculum of physical and mental improvement. They see themselves as living libraries, the custodians of practical and movement traditions that cannot be written down in books or scrolls. When rhythmic gymnasts gather, they share performances through turn-taking and in rituals that involve teams of five.

Joining the College of Rhythmic Gymnastics permanently alters a bard's Bardic Inspiration, Song of Rest, and Spellcasting abilities. Rather than using music or speech to inspire or heal others, the rhythmic gymnast uses a dance performance with apparatus. (Healing is usually facilitated by the hypnotic turning of the hoop. The correct apparatus to inspire others in any particular situation is left to the bard's and the judge's discretion.)

A dance performance with the correct apparatus also replaces the Verbal, Somatic, and Material components of the bard's spells. The correct apparatus for each spell is listed below. The bard and judge are encouraged to work together to decide the correct apparatus for spells not on the bard's spell list, such as spells learned using the Magical Secrets ability.

Ball
The ball bounces, glides, and rolls as the bard dances. The ball apparatus is needed to cast spells that relate to movement or that cause objects to appear into existence. The ball can symbolize anything passed from the bard to another target, and the ball facilitates interactions with animals.

Animal Friendship (1st)
Animal Messenger (2nd)
Animate Objects (5th)
Awaken (5th)
Dancing Lights (0th)
Dimension Door (4th)
Enhance Ability (2nd)
Etherealness (7th)
Feather Fall (1st)
Find the Path (6th)
Foresight (9th)
Freedom of Movement (4th)
Locate Animals or Plants (2nd)
Locate Creature (4th)
Longstrider (1st)
Mage Hand (0th)
Message (0th)
Planar Binding (5th)
Plant Growth (3rd)
Prestidigitation (0th)
Raise Dead (5th)
Sending (3rd)
Speak with Animals (1st)
Speak with Plants (3rd)
Teleport (7th)
Unseen Servant (1st)

Clubs
The clubs can be thrown, juggled, and twirled during the dance. The clubs apparatus are needed to cast spells related to combat, or that deal damage to an opponent.

Bane (1st)
Bestow Curse (3rd)
Cloud of Daggers (2nd)
Dispel Magic (3rd)
Dissonant Whispers (1st)
Eyebite (6th)
Fear (3rd)
Feeblemind (8th)
Feign Death (3rd)
Geas (5th)
Glyph of Warding (3rd)
Heat Metal (2nd)
Heroism (1st)
Knock (2nd)
Mordenkainen's Sword (7th)
Otto's Irresistible Dance (6th)
Power Word Stun (8th)
Power Word Kill (9th)
Shatter (2nd)
Stinking Cloud (3rd)
Tasha's Hideous Laughter (1st)
Thunderwave (1st)
True Strike (0th)
Vicious Mockery (0th)

Hoop
The hoop encircles the bard, spinning and rolling as she moves through her dance. The hoop apparatus is needed to cast spells of protection and spells that constrain the movements of others. The hoop represents circles and the creation of zones and spaces. The rhythmic movement of the hoop helps the bard concentrate to learn forgotten knowledge, and aids in soothing wounds and other injuries.

Blade Ward (0th)
Clairvoyance (3rd)
Comprehend Languages (1st)
Cure Wounds (1st)
Detect Magic (1st)
Detect Thoughts (2nd)
Forcecage (7th)
Greater Restoration (5th)
Guards and Wards (6th)
Healing Word (1st)
Hold Monster (5th)
Hold Person (2nd)
Identify (1st)
Legend Lore (5th)
Leomund's Tiny Hut (3rd)
Lesser Restoration (2nd)
Locate Object (2nd)
Mass Cure Wounds (5th)
Mending (0th)
Mindblank (8th)
Mordenkainen's Magnificent Mansion (7th)
Nondetection (3rd)
Power Word Heal (9th)
Regenerate (7th)
Resurrection (7th)
Scrying (5th)
See Invisibility (2nd)
Speak with Dead (3rd)
Silence (2nd)
Sleep (1st)
Teleportation Circle (5th)
Tongues (3rd)
True Seeing (6th)
Zone of Truth (2nd)

Ribbon
The ribbon flutters, swirls, and twists as the bard dances. The ribbon is needed to cast spells that confuse or entrance opponents, or that create the appearance of objects that do not truly exist.

Blindness/Deafness (2nd)
Calm Emotions (2nd)
Charm Person (1st)
Compulsion (4th)
Confusion (4th)
Crown of Madness (2nd)
Disguise Self (1st)
Dominate Person (5th)
Dominate Monster (8th)
Dream (5th)
Enthrall (2nd)
Fairie Fire (1st)
Friends (0th)
Glibness (8th)
Greater Invisibility (4th)
Hallucinatory Terrain (4th)
Hypnotic Pattern (3rd)
Illusionary Script (1st)
Invisibility (2nd)
Light (0th)
Magic Mouth (2nd)
Major Image (3rd)
Mass Suggestion (6th)
Minor Illusion (0th)
Mirage Arcana (7th)
Mislead (5th)
Modify Memory (5th)
Phantasmal Force (2nd)
Polymorph (4th)
Programmed Illusion (6th)
Project Image (7th)
Seeming (5th)
Silent Image (1st)
Suggestion (2nd)
Symbol (7th)
True Polymorph (9th)

Fig 1 - The Ball

BONUS PROFICIENCIES
When you join the College of Rhythmic Gymnastics at 3rd level, you gain proficiency with the following three tools: ball, hoop, and ribbon. The judge is encouraged to apply these proficiency bonuses (as well as your pre-existing proficiency with clubs) whenever you manipulate sphere-like, wheel-like, rope-like, or stick-like objects.

In addition, you can treat any club weapon you use in combat as though it had the finesse and thrown properties, and you score a critical hit on a successful attack roll of 19 or 20 when using a club.

Fig 2 - The Clubs

MEDITATIVE MOVEMENT
Also at 3rd level, you learn to use your proficiency with dance and apparatus to improve your own performance at physical tasks. By entering a brief meditative trance during a dance, you are able to inspire yourself instead of others. You can use your Bardic Inspiration die to improve your own attack roll (clubs), Charisma skill check (ribbon), Constitution saving throw (hoop), Dexterity saving throw (ribbon), Dexterity skill check (ball), initiative (ball), Strength saving throw (clubs), or Strength skill check (hoop).

Fig 3 - The Hoop

DANCING DEFENSE
At 6th level, you learn to use your skill at tumbling to protect yourself in combat. While you are not wearing any armor, your Armor Class equals 10 + your Dexterity modifier + your proficiency bonus. You can use a shield and still gain this benefit.

In addition, when you are subjected to an effect that allows a Dexterity saving throw to take half damage, you can use your reaction to reduce the final damage by a number of points equal to your proficiency bonus.

Fig 4 - The Ribbon

MOVEMENT MASTERY
At 14th level, you learn to apply your ability to dance and tumble to remain fluid in a variety of difficult situations. You can stand up from prone without spending any of your movement. Your speed is not reduced when climbing or due to difficult terrain. You never receive disadvantage from squeezing into a small space. You never provoke an opportunity attack when you move around another creature in combat. Your high-jump and long-jump distances are doubled. You gain resistance to falling damage.