I treated every number as a move in the game itself. The show lives inside control, politics, ego, nationalism, and power. I wanted the movement to feel like strategy unfolding in real time. Nothing could be random. Every shift, every formation, every gesture had to feel intentional, like a calculated play. The score guided everything. I stayed rooted in the style of the music, so the choreography never felt imposed on it. Instead, it grew out of it.
Throughout the production, I kept returning to the idea that chess is political theater. The board is a battlefield. The players are pawns in something larger. The choreography reflected that tension between control and chaos. Some numbers were tightly structured and geometric, echoing the board itself. Others fractured that structure to show what happens when power slips.
