本研究透過訪談《禦日闇月》舞者及編舞者的方式得到了四項結論一、開發肢體新語彙、二、擴展編創理念新思維、三、舞台美學的多元運用、四、編創上的執著與更新。一個好的編舞家，除了要具備獨特的思維及個人風格外，更重要的是要如何與舞者溝通，並傳達編創之真正涵意，使舞作得以完美展現。
Yu-Yung Chang has his own unique choreographic and dance style. The best examples can be seen from the awards of his participation in the Earth Dance Creation Competition run by the Ministry of Culture, Tung Blossom Dance Competition run by the Hakka Affairs Council, and the Nationwide Student Dance run by the Ministry of Education.
Form and content is an essential element of all art. Therefore, the researcher was motivated to explore the dance forms content of Yu-Yung Chang’s creative dance, Royal Day Dark Moon. Byusing Stake’s (1995) case study as the major methodology and supported by historical research, the researcher tried to understand the choreographer's creative ideas and motivation of making innovations. The research contribution presented may enable anyone who is interested in dance composition to have better understanding of theoretical and practical knowledge of innovative dance in Taiwan. From this analysis, it shows not only the importance of cooperation between a dance choreographer and dancers, but also theuse of aesthetics such as costumes, props, lighting and other external substances to strengthen and enhanceof dance performance.
There are four essential results of this research: a) creativing new movement, b) expandingcomposition ideas, c) application of the stage aesthetics, and d) innovation of choreography. Besides the involvement of unique ideas and personal style, a choreographer must know how to deliver and negotiate his/her true meaning of the composition in order to display the perfect dance performance.
