More and more card magicians are wearing those. Each one seemingly under the age of 15. What's up with those. Does the colour point to sexual preferences? If so, what does the combination black and yellow mean?
Monday, 14 January 2013
What's up with those?
More and more card magicians are wearing those. Each one seemingly under the age of 15. What's up with those. Does the colour point to sexual preferences? If so, what does the combination black and yellow mean?
Sunday, 13 January 2013
Stuff based on Stuff
I'm not gonna talk you through a possible handling. Check out Walton for that.
And here is a nice plot that can be taken from close up to stage. The phantom hands. "Imagine a set of invisible hands, right next to my own hands. They do whatever my real hands do." You show a cup and a stamp. You let the stamp fall into the cup. Then both hands mime taking out the stamp, claiming that the phantom hands actually take out the stamp. You mime tearing the stamp into fours pieces and then dropping them back in the cup. When the cup is turned over the stamp in there is torn into four pieces. Method: There is a torn stamp in the cup to begin with. You show a regular stamp and false transfer it to the other hand which pretends to put it in the cup. You ditch the real stamp and the rest is just presentation. There is not much to this... but let's elevate this into a creepy stage piece....
"You know the sensation of being stared at? Well think about being touched with nobody around." Think PK Touches with just one person. Suddenly everything gets a theatrical veil, the veil of mystery.
Stuff from Stuff
Producing objects don't need a lot of justification. The simple fact that you can make something appear from thin air already is a great deal. Think about it. From nothing you make something by sheer will and it will be whatever you want it to be. These are enormous implications. God is supposed to have that sort of power. But of course any production can benefit from some sort of justification or logical or emotional reasoning.
Here is a bad example: Silk and Ball routines. They are pretty, yes but what is the relationship between silk and ball? Do they come together naturally? No! Yet all the production strike us as beautiful when done right. The intrinsic aesthetics are enough to make us not question the purpose of the choice of props. Is there a way to add to the routine by giving it a better justification aside from the "pretty"-aspect? Yes! Here is how:
Basically you talk about your childhood and all those things you encountered during that time. And that all those things might be responsible for your later outcome of your personality.
Of course a fitting music should go along that. Something nostalgic. Something that reminds us of childhood.
Then you grab a piece of silk and from it you produce a baby's rattle. Then a toy block, a mechanical tin toy, a toy car, a marble, a yo-yo, a Game Boy, a pager, a cell phone.
In between you show the silk to be empty. All the standard ball to silk moves come to mind when thinking about methods to accomplish this.
The aim is, that people will recognize those props. Either referring to their own childhood or the childhood of their own children. Along with the music it will lead to an emotional reaction, hopefully. And you end in the "here" and "now". Returning from memory lane.
This is an example of an emotional reasoning that make up the choice of props to be produced. You still have the God like power of creating stuff, but less random and with much more focus on a given subject.
Here is a cool little bit of wisdom. If people can choose what you produce the production will be stronger. Here is an example: Three imaginary coins are floating in the air. A 2 Euro coin, a 1 Euro coin and a 50 cents coin. The magician claims to hold a real coin in his closed fist. The spectator is asked to pick one of the imaginary coins. Then the hand is opened and the named coin is the only one in there. In terms of method: (C/S two times out of three or Shuttle pass, one time out of three.) Technically it's just a 1/3 chance that you are correct. But the fact that your audience could choose elevates it to a much more appreciative realm.
Let's give you an example for a logical production. This was created from the basic "bottle from a bunch of silks"-effect. It is designed to fit in a kids show.
Effect: Explain that you can Different pieces of clothing are shown. Warm socks, a scarf, gloves, a stupid hat. The kids realize, that all of that is needed in the winter. And from this whole bunch of clothing a thermos bottle is produced. The hot chocolate for later.
Method: A chair is standing around. Behind the backrest on a hook a sock is hanging. Inside the sock the thermos bottle. The clothing is shown and put on the backrest to show the next one. Near the end everything is picked up the loaded sock goes along for the ride. The bundle can be seen from all sides. Push down on the sock and the rest of the clothing and the thermos bottle will seemingly pop up.
You introduced the theme of winter. Coming up with stuff that keeps you warm. What could warm you more than hot chocolate? Right! Nothing.
A what the hell, one more: You may be familiar with the effect, that a rope is shown and a knot is tied. Then as the knot is tightened a colorful piece of silk appears in the knot. (Flash Silk on Rope by Doug Edwards Vol. 15 Issue 12 of the Apocalypse, read it, it's cool!)
Problem: There is absolutely no reason for the silk to appear aside from the surprise.
Solution: I put it at the beginning of my knot routine, by explaining that there are three basic simple knots. The first one; The real knot. I do a real knot to demonstrate. I open the knot again. The second one; The knot that is not. I do a false knot. And third; The magic knot. I do the knot and the piece of silk appears in the knot.
It is not the best solution, but it gives it a bit more reason and time... Yes time to see, that the rope is indeed normal.
And as an afterthought I might add a fourth knot. The knot that comes off. To do that, the piece of silk is twirled together like a rope and a false knot made. In your palm should be a removable knot, or it might by tied to the silk to begin with. That way you can pretend to take off the knot which would come as a real surprise and would justify the piece of silk in a strange way. And if you would open the piece of silk and it would have a hole in the center, it would even further explain why a cloth was used and not a rope. Aside from being funny.
Here is a bad example: Silk and Ball routines. They are pretty, yes but what is the relationship between silk and ball? Do they come together naturally? No! Yet all the production strike us as beautiful when done right. The intrinsic aesthetics are enough to make us not question the purpose of the choice of props. Is there a way to add to the routine by giving it a better justification aside from the "pretty"-aspect? Yes! Here is how:
Of course a fitting music should go along that. Something nostalgic. Something that reminds us of childhood.
Then you grab a piece of silk and from it you produce a baby's rattle. Then a toy block, a mechanical tin toy, a toy car, a marble, a yo-yo, a Game Boy, a pager, a cell phone.
In between you show the silk to be empty. All the standard ball to silk moves come to mind when thinking about methods to accomplish this.
The aim is, that people will recognize those props. Either referring to their own childhood or the childhood of their own children. Along with the music it will lead to an emotional reaction, hopefully. And you end in the "here" and "now". Returning from memory lane.
This is an example of an emotional reasoning that make up the choice of props to be produced. You still have the God like power of creating stuff, but less random and with much more focus on a given subject.
Here is a cool little bit of wisdom. If people can choose what you produce the production will be stronger. Here is an example: Three imaginary coins are floating in the air. A 2 Euro coin, a 1 Euro coin and a 50 cents coin. The magician claims to hold a real coin in his closed fist. The spectator is asked to pick one of the imaginary coins. Then the hand is opened and the named coin is the only one in there. In terms of method: (C/S two times out of three or Shuttle pass, one time out of three.) Technically it's just a 1/3 chance that you are correct. But the fact that your audience could choose elevates it to a much more appreciative realm.
Let's give you an example for a logical production. This was created from the basic "bottle from a bunch of silks"-effect. It is designed to fit in a kids show.
Effect: Explain that you can Different pieces of clothing are shown. Warm socks, a scarf, gloves, a stupid hat. The kids realize, that all of that is needed in the winter. And from this whole bunch of clothing a thermos bottle is produced. The hot chocolate for later.
Method: A chair is standing around. Behind the backrest on a hook a sock is hanging. Inside the sock the thermos bottle. The clothing is shown and put on the backrest to show the next one. Near the end everything is picked up the loaded sock goes along for the ride. The bundle can be seen from all sides. Push down on the sock and the rest of the clothing and the thermos bottle will seemingly pop up.
You introduced the theme of winter. Coming up with stuff that keeps you warm. What could warm you more than hot chocolate? Right! Nothing.
A what the hell, one more: You may be familiar with the effect, that a rope is shown and a knot is tied. Then as the knot is tightened a colorful piece of silk appears in the knot. (Flash Silk on Rope by Doug Edwards Vol. 15 Issue 12 of the Apocalypse, read it, it's cool!)
Problem: There is absolutely no reason for the silk to appear aside from the surprise.
Solution: I put it at the beginning of my knot routine, by explaining that there are three basic simple knots. The first one; The real knot. I do a real knot to demonstrate. I open the knot again. The second one; The knot that is not. I do a false knot. And third; The magic knot. I do the knot and the piece of silk appears in the knot.
It is not the best solution, but it gives it a bit more reason and time... Yes time to see, that the rope is indeed normal.
And as an afterthought I might add a fourth knot. The knot that comes off. To do that, the piece of silk is twirled together like a rope and a false knot made. In your palm should be a removable knot, or it might by tied to the silk to begin with. That way you can pretend to take off the knot which would come as a real surprise and would justify the piece of silk in a strange way. And if you would open the piece of silk and it would have a hole in the center, it would even further explain why a cloth was used and not a rope. Aside from being funny.
Magic Pirates Exposed
Then he published all the names and email addresses of the people who joined. Unfortunately he removed the list of the people who joined fearing legal consequences. But here is a nice copy: http://instablogg.com/kV8iZxw. have fun recognizing certain names. ;)
Saturday, 12 January 2013
It's the audience's fault
Sometimes the answer is to be found with the spectators. Some are just to darn tired to clap or to laugh or whatever. Sometimes it is not your fault. Most pros will tell you that the spectator must never be made the guy responsible for killing the show. Well, most often you can get around the issue by waiting. In our case people don't applaud after you made ends end and middle of the rope switch places. Usually they do. But now they don't. LET THE AWKWARD SILENCE SINK IN. They will applaud because they feel uncomfortable with the silence and need to fill it themselves because you don't do it.
And that might actually loosen up the audience so the rest of the show runs smoothly. If it happens again, you can start filling the gap with a corny joke: "Looks like you see this sort of thing every day." Now they should get the message.
Maybe, just maybe they are just tired. Or maybe they don't like you or magic. And here is why! People gather in groups of shared interest. Those are called friends. A party usually has a lot of friends in one place. They are friends not just because they share the same interests, but also because they think about stuff in similar fashion.
So if you have bad luck, you run into a group which doesn't like going crazy mad every time you make a card come to the top of the deck. Maybe they don't like your look. Maybe you look like those Ellusionist magicians. Maybe they wan't you to get a hair cut and a real job.
It's their fault your show is ruined, but them must never be called out on that. But know that deep inside your show was a good as always. Don't let a bad experience let you down. Sometimes it's the audience's fault.
So I wanna wish you a Merry New Year. (or whatever you say in order to be politically correct)
Have fun with your gig tomorrow!
What? You don't have one tomorrow.... then you're not a pro! ;)
Friday, 11 January 2013
Three Realities
What book would you recommend for a beginning magician? "Magic for Dummies" by David Pogue? "Close-up Magic" by Nicholas Einhorn? "Magic Tricks for Grownups" by Jon Tremaine? Or even "Magic: The Complete Course" by Joshua Jay?
Think back when you first learned magic. Did you really get a book first? Only a few of us have been so lucky? Before we got a book we had a trick.
In my case it was the Ball and Vase that my grandpa used to own. It was a plastic version. It was dark green and the ball was black. Like a black pearl. He used to fool the hell out of me. And one day I stole the darn thing.
So that was my serious introduction to magic. A criminal act. Next Christmas I got my first magic kit... yeah who's been naughty or nice? My first book on magic was years later. I was in third grade and my reading skill finally has come to a degree that I had fun doing the reading.
But before I read the book I had tinkered with magic stuff many times. And if I hadn't done so I probably would have had a hard time to comprehend even half of what the book was talking about. I was 8 years old. I had a hard time to differentiate between the reality the spectators where perceiving and the reality I had. And that I had to pretend to have the same sort of fake reality that my spectators had. And rather difficult concept really! Now imagine the enlightenment the following trick had on me:
A bowl of rice. You place a wooden ball on the surface of the rice. Then you lift the bowl above every ones head. And then you shook the bowl slightly. And when you brought the bowl down the ball had become golden. I knew what was going on, but realizing to pretend to be amazed myself got me a greater reaction I slowly understood the meaning of magic. Because I didn't see the ball change my reality was the same as the spectators reality. Now I only had to deny the absolute reality of it being a trick and physics and all.
That knowledge really helped me to "pretend". Now when I change the color of a ball I see it. But I can pretend not to see it. Therefore I don't send any signals of guilt or that of a different reality apart from the spectator's reality.
And that is something that those books do not teach you. At all. I made this little drawing I should have seen many, many years ago:
Think back when you first learned magic. Did you really get a book first? Only a few of us have been so lucky? Before we got a book we had a trick.
In my case it was the Ball and Vase that my grandpa used to own. It was a plastic version. It was dark green and the ball was black. Like a black pearl. He used to fool the hell out of me. And one day I stole the darn thing.
So that was my serious introduction to magic. A criminal act. Next Christmas I got my first magic kit... yeah who's been naughty or nice? My first book on magic was years later. I was in third grade and my reading skill finally has come to a degree that I had fun doing the reading.
But before I read the book I had tinkered with magic stuff many times. And if I hadn't done so I probably would have had a hard time to comprehend even half of what the book was talking about. I was 8 years old. I had a hard time to differentiate between the reality the spectators where perceiving and the reality I had. And that I had to pretend to have the same sort of fake reality that my spectators had. And rather difficult concept really! Now imagine the enlightenment the following trick had on me:
A bowl of rice. You place a wooden ball on the surface of the rice. Then you lift the bowl above every ones head. And then you shook the bowl slightly. And when you brought the bowl down the ball had become golden. I knew what was going on, but realizing to pretend to be amazed myself got me a greater reaction I slowly understood the meaning of magic. Because I didn't see the ball change my reality was the same as the spectators reality. Now I only had to deny the absolute reality of it being a trick and physics and all.
That knowledge really helped me to "pretend". Now when I change the color of a ball I see it. But I can pretend not to see it. Therefore I don't send any signals of guilt or that of a different reality apart from the spectator's reality.
And that is something that those books do not teach you. At all. I made this little drawing I should have seen many, many years ago:
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