Chapter 107: Divine Refinement, Point 13 [Stage Walk]

There were eleven days left until the combat performance, "Immortal."

The massive stage already had taken shape, requiring only final decorations and adjustments. The heavy steel plate foundation was complete; it was so sturdy that even artillery shells would fail to leave a crater deeper than twenty centimeters. The steel plates themselves were three meters thick and set one meter deep into the sandy ground. In short, all 1,501 performers could dance on it freely without any concerns.

After days of grueling rehearsals—and the frenzied pace of the last two days—the 1,500 participants could clearly feel their musical proficiency improving by leaps and bounds. More importantly, they knew that to rise in rank, earn wealth, and achieve fame, they had to give it their all; failure would undoubtedly result in execution by the commander.

Chen Fang’s complexion had improved significantly. After adapting to these days of extreme physical conditioning, her body had fully adjusted. She had initially planned to visit Chen Zhuo nearby, but Le Xiaotian had stopped her, and she had not brought it up again. Her work had become simple: she watched and occasionally fetched clothes or cigarettes for Le Xiaotian.

After handing him his clothes, Chen Fang jumped off the stage rather than walking.

Le Xiaotian stretched his body and scanned the performers around the stage. He clapped his hands. "Today, we start with stage blocking. First violin section, take the stage."

Once he finished speaking, Le Xiaotian stepped down and retreated to a five-meter-high platform to oversee the area, switching from standing to sitting. Beside him sat a table with cigarettes, fine wine, and, most importantly, several large crates of tennis balls.

The 168 female violinists of the first violin section heard the command and stepped onto the stage.

As soon as they were in position, Le Xiaotian donned his headset microphone, which was connected to the sound system, and whipped a tennis ball at them with lightning speed.

"Chair 64, why is your backside stuck out so far?"

"Heh." The male agents watching from the sidelines chuckled.

*Swish, swish, swish.* Several more tennis balls were launched. Le Xiaotian roared again, "What are you laughing at? Do you understand what 'serious' means?"

The crowd fell silent, a sense of dread returning to the scene.

Looking away, Le Xiaotian continued, "From the top. Mind your posture—keep your glutes tight, don't stick them out. This is a performance, not a seduction mission. Do you understand?"

Under the gaze of so many people, the violinist in the 64th chair finally understood the awkwardness of being the center of attention. Coupled with the sensitive area Le Xiaotian had pointed out, she blushed deeply.

They stepped off, and the 168 women climbed back onto the stage.

*Swish! Swish! Swish!*

With every run-through, the tennis balls never stopped flying, and Le Xiaotian’s roaring never ceased.

"This is a performance that two billion people will be watching. Do you really care? Whether you’re doing this for rank, fame, to survive by my hand, or because you truly want to save Fama—give me your absolute best!"

"Have you never marched before? How were you trained in the past? Did you succeed just by having pretty faces? If not, show me your discipline!"

"Goddess of Victory, how many times must I repeat this? You are a noble goddess, carrying a trace of solemn tragedy. This is not a runway show! Stop posing, stop being artificial, be natural!"

"Chair 32, are you wearing too many layers, or is your chest just too big? Straighten your back!"

"Chair 16, did you get plastic surgery? 'Serious' doesn't mean you have to be expressionless!"

"Chair 17, is your leg cramping, or what? There is a way to stand and a way to sit. You can't even climb a step properly—what are you even doing?"

"Chair 103, does your right hand have a claw tremor? Let the bow hang naturally; don't let it sway with your gait."

After many repetitions, the beauties of the first violin section finally hit their marks. There were no stools, no music stands—they simply stood there, naturally.

Le Xiaotian scanned them, took a sip of wine, and shouted, "Second violin section, take the stage."

Although both sections played violins, their positions were completely different. The designated spots were not random; they were the result of countless simulations to ensure the sound field coverage and orientation perfectly integrated with the venue.

After the second violin section, the viola section and the cello section followed. The cello section required more retakes because the instruments were heavier.

Because they were heavy, they were difficult to carry. Unlike typical performances, Le Xiaotian required the musicians to carry their own instruments onto the stage for "Immortal." This differed from standard shows where instruments were set up before the musicians arrived, as this was a combat performance; the musicians needed to carry their instruments not only to shock the audience but, most importantly, to ignite their own morale.

In a figurative sense, the relationship between the two had changed; the performers were the most critical factor.

Consequently, by the time the cello section took the stage, many of the girls were sweating, even though the instruments only weighed 4.5 kilograms. Carrying the cellos—not by hugging them, nor by wearing them on their backs, but by holding them in their left hands—caused many of them to complain of wrist pain after a short while.

Once their wrists grew sore, their bodies lost balance, leading to either hurried, uneven steps or lagging behind. Most critically, once their breathing became irregular, their mobility faltered. As their chests heaved, the rhythm of their heads, necks, shoulders, chests, waists, hips, and feet became completely uncoordinated.

Even so, Le Xiaotian showed no mercy. The tennis balls flew faster and with more force; these were not gentle taps of flirtation, but strikes aimed to sting. If a ball hit a hip, it was manageable, but if it struck the chest or knees, it caused bruising and sharp pain.

Finally, after the cellists were nearly moved to tears, the brass section took the stage.

Like the string section, the male agents playing trumpets, cornets, French horns, and trombones moved easily at first, but the heavy and bulky tubas proved difficult. Much like the cellos in the string section or the bassoons in the woodwinds, these instruments—along with the bass and tenor parts—were the foundation. Without them, the music would lack the necessary solemnity, stability, and maturity. Even in pop or rock, the bass plays the most vital role. Many listeners might only hear the lead singer, the violin, or the trumpet, but beneath them lies something far more important.

Fortunately, the tubas could be carried in their arms, and since they were handled by the male agents, they completed the task quickly.

Relatively speaking, the timpani players and the pianist had it easiest, as they did not have to carry their instruments onto the stage and their smaller numbers made coordination simple.

The blocking, positioning, and sequence were all held to an incredibly high standard; there was no room for carelessness. After the stage blocking came the rehearsals. Throughout the process, Le Xiaotian also had to oversee the stage decorations, patterns, markers, lighting cues, and control the noise from the various machines—a task of immense complexity.