The choreography Fallen Angel is based on the precise instant Lucifer is cast out of Heaven, immediately before his transformation into the Prince of Hell.
Designing the character
Fallen Angel has been one of the few choreographies that I have built taking a character as a primary engine, instead of choosing first a particular song. In other choreographies I have used themed costumes (i.e. Cowgirl from hell), but there is not a real character construction beyond.
Designing characters involves studying their gestures, their emotions and their reactions, so you can include all of them in your choreography. Taking that in mind, you can choose after the appropriate music to represent your character.
A choreography based on characters is halfway between dance and theater: it is a storytelling through the body and you may use theatrical resources to achieve that.
My choreography starts when Lucifer is cast out of Heaven and he feels the regret and sorrow for the lost Paradise. It covers the period of time that separates Lucifer from being the Son of the Dawn to the Prince of Darkness.
Regarding to the dance movements, I included iconic gestures of the angels, as prayers, and pain gestures due to his confrontation with God. Lucifer is still not an angel corrupted: he still finds Hell as a hostile land.
Music: My immortal (Evanescence)
Designing the perfect sound collage in a theatrical choreography is especially important, since it is difficult you can find only one song that meets all the needs of the script.
In this piece I used an introduction with celestial music and some sound effects to represent the closing of the Gates of Heaven and the San Pedro´s keys locking them. As the main theme, I chose My Immortal (Evanescence), after studying the lyrics and evaluating if the musicality and emotional tone of the song suited the character.
Wings of an Angel
Fallen Angel costume is very elaborate, with pieces of clothing including feathers and a pair of feather wings, all in black. At the backstage, you have to be especially careful wearing these feather wings because the size of the dancer is increased by one meter longer than usual… and this is not comfortable at all! Also, the friction with walls can damage the wings.
Regarding to the dance movements, the feather wings involve mobility problems. They restrict the floorwork and arm movements in the semi-kinesphere backwards. However, the beauty achieved with this kind of costumes makes sometimes worth to use a limited dance repertoire at the expense of the global staging.
Have you ever choreographed to symphonic/gothic metal music? Send me your link and I will publish it!