---
schema_version: 1
id: "choreographic-stage"
name: "Choreographic Stage"
summary: "Abstract airborne figures, a finite ribbon trajectory and generous editorial pauses connect an asymmetric stage to a real format-and-experience programme."
family: "expressive"
tags: ["asymmetric", "poster", "image-led", "task-led"]
best_for: ["culture", "events", "campaign"]
avoid_for: ["data"]
density: "balanced"
image_dependency: "low"
motion_level: "expressive"
complexity: "medium"
signature: {"composition": "An asymmetric full stage and vertical chapters; B a compact study above a programme/enquiry workspace.", "typography": "Spacious Georgia editorial phrases with quiet Arial filters and demonstration-time labels.", "navigation": "Performances, programme and enquiry anchors with real sibling links and accessible native filters.", "content_rhythm": "Stage, manifesto and three large studies versus programme-first work and concise illustrated concept records.", "imagery": "Three original abstract body/ribbon SVG figures and a separately drawing finite trajectory.", "color_and_material": "Deep aubergine, warm peach and bone; broad theatrical pauses and a pale practical programme.", "interaction": "Three formats, two experience levels, real radio selection and exact query copy with manual fallback.", "motion": "900ms path, bounded scroll displacement, 250ms descriptions and 200ms filter rows with pause/reduced states."}
status: "ready"
prompt_path: "prompts/choreographic-stage/prompt.en.md"
---

# Choreographic Stage

## Intent

Choreographic Stage treats movement as a relationship between a figure and its surrounding space. The fictional Oryndel Studio introduces three original aerial-dance concepts and a practical way to choose a demonstration introductory format. The page offers artistic exploration and a copyable enquiry draft. It does not advertise real performances, confirmed classes, physical exercise instructions or completed reservations. Broad pauses and editorial language give each gesture room to be understood.

## Signature

Preserve five relationships: an abstract airborne body; a ribbon path that draws once and settles; an asymmetric stage with a bottom-left editorial headline; a vertical rhythm of three distinct performance concepts; and an accessible format-and-experience programme. Deep aubergine, warm peach and pale bone support the same theatrical voice in both compositions. The practical programme must remain coherent when motion is stopped and when the illustrations are replaced with another original movement language.

## Typography

Georgia carries spacious, restrained editorial headings, with occasional italic in the opening promise. Arial supports navigation, programme metadata, filters and enquiry text. The contrast comes from scale and pauses rather than aggressive all-caps slogans. Small numbered annotations identify concepts and method stages; body paragraphs retain ordinary casing and a comfortable measure. System fallbacks include Lithuanian glyphs without remote font loading. Mobile headings shrink deliberately so whole phrases remain readable without sideways scrolling or a forced device rotation.

## Color and surfaces

The main stage uses deep aubergine with bone text and peach figure/action accents. A pale programme surface reverses the relationship, using aubergine copy, control borders and focus. Muted text remains light on dark sections, while small programme annotations become dark on pale surfaces. Semantic tokens supply interface colors and focus roles. Original vector illustrations record their separate coherent palette. Avoid adding sports-style gradients, trophies or neon scoreboard accents; the material is quiet theatrical space rather than athletic measurement.

## Layout A

A opens with one large asymmetric figure and a ribbon trajectory. The headline sits below and to the left of the figure's main gesture. Replay and pause controls follow without blocking access to content. A light manifesto changes the pace before three generous vertical performance chapters, whose illustrations alternate sides. Each chapter exposes its title and a real description control. The filtered programme follows on a pale field, then the collective method and a separate contact worksheet close the story. This sequence moves from artistic direction to considered practical enquiry.

## Layout B

B begins with a format-oriented introduction and a smaller stage study. The programme and contact worksheet form a practical two-column workspace: filter the six demonstration possibilities, select a row and see the full draft nearby. After this working area, a compact illustrated performance index supplies creative context. The method and a closing manifesto complete the programme-first reading route. B replaces A's broad performance chapters with concise concept records and puts the enquiry directly beside selection. Phones retain this order through complete vertical sections.

## Imagery

Three original local SVG studies combine an abstract body, a suspended ribbon and a distinct limb/curve arrangement. They are invented graphic gestures rather than copied choreography, real performers or photographs. The main inline study repeats the first figure with a separately drawn finite trajectory. Performance artwork stays inside bounded figure regions; scrolling changes only its small local displacement. No recordings, imported models, stock portraits, brand marks or external services are needed. The body language remains abstract enough to avoid implying physical training instructions.

## Navigation and interaction

Visible links reach performances, programme and enquiry, with a working sibling composition link. Native format and experience selectors filter all six authored combinations in actual HTML rows. A real radio choice selects one visible concept. Changing a filter clears a selection that no longer matches, rather than copying an invisible stale choice. The optional thought field, filter values, selected format, experience, title, demonstration time and duration appear in the live draft. Copy writes those exact bytes to the clipboard; if permission fails, the readable textarea is selected with a keyboard-copy explanation. No transmission is simulated.

## Motion

The initial ribbon path draws over 900 milliseconds and the headline settles as one coherent gesture. It stops without an automatic repeat. Performance illustrations move through a bounded local range in response to actual scrolling and remain still at the section limits. Description panels expand or close in 250 milliseconds, keeping other titles visible. Filtering applies a short 200-millisecond row rearrangement while leaving focus on the selected filter. Pause, region visibility, hidden documents and pagehide cleanup bound scheduled work. Reduced motion applies final path, panel and filter states immediately and removes scroll displacement.

## Responsive behavior

At 1440 A preserves a wide stage and large alternating performance studies. B gives the programme more width than its neighbouring contact worksheet. At tablet widths the practical workspace stacks before row labels become cramped. At 390 and 360 the main figure precedes the bottom-left headline, controls wrap and programme records become readable time, title and choice sequences. B retains a small illustration beside each compact concept record. No scroll lock, sideways programme table or hidden mobile navigation is necessary.

## Accessibility

Use one h1, a main landmark, a skip link and visible section navigation. Abstract illustrations have useful descriptions; duplicate path detail remains decorative. Native selectors and radios carry clear visible labels. Description buttons expose real expanded state and controlled panel IDs. Dark sections use peach focus outlines, while pale programme sections use dark focus. Copy status describes actual results, and unselected drafts cannot be mistaken for a completed booking. Automated contrast, resource and control checks complement actual keyboard, responsive, motion and content testing.

## Adaptation

Replace the fictional collective, gestures and concept descriptions with original or licensed owner content. Preserve the relationship between a bounded figure, large spatial pauses and a practical programme. Keep a concept-only label until real dates and availability are supplied. The filter and copy flow can become another kind of creative workshop enquiry without changing the stage identity. A real booking system requires a real verified integration and its own confirmations. The full creation prompt preserves project fields and A/B choice for implementations in another stack.

## Avoid

Exactly three anti-patterns weaken this direction: replacing the abstract stage with sports statistics or achievement tables; running an endless trajectory or blocking scrolling to force a performance; and calling a copied enquiry a confirmed reservation. Keep the ordinary programme available independently of the illustrated enhancement.

## Closest styles

Kinetic Type uses giant sans-serif word fields and a date-led two-day programme. This direction uses original body/ribbon illustration, serif spatial headlines and format/experience choice, changing imagery, structure and navigation rhythm. Neo Brutalist uses thick exposed frames, hard shadows, poster bands and a public-notice programme. Here broad unframed pauses, alternating stage chapters and a neighbouring enquiry sheet establish a different composition and practical task. Inspect real ready desktop and phone frames from both neighbors rather than relying on a different palette alone.