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The Magic Cafe Forum Index » » Magic...at a moment's notice! » » Impromptu coin and business card (2 Likes) Printer Friendly Version

funsway
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old things in new ways - new things in old ways
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For me, close-up magic has always been best when using “found objects” natural to the setting. As I am drawn to “intimate magic,” I also want to be appropriate to the observers/guests and any subject theme of the moment. Coin magic fits into these parameters – or used to. Now, larger coins are “strange objects” to many, and Internet exposure has made both props and hands suspect. What to do?

I also find that I wish to perform “effects” (what the observer remembers) that cannot be done on video or involve active participation of the spectators along the line of Etienne’s “Rope Loop” analogy of magic as art. So, imagine with me a possible routine.

A business card is borrowed from one spectator and an “eagle” quarter from another – both easily obtainable from today’s dinner guests. A drinking glass or coffee cup is also readily available. The business card is show to all using a natural twisting motion between the tips of the fingers of both hands that also casually display both palms empty and fingers splayed. The quarter is dropped on the table and covered with the card to establish a pattern and condition under which magic can occur. The card is lifted, the coin picked up and dropped into the glass held by a spectator.

The card and hands are freely shown again and the card placed on the table over an empty spot. After a magical gesture, the card is lifted to reveal a new quarter that is also dropped into the glass. This process is repeated twice more with he card hand hands shown completely empty at all times. The focus and attention of the observers becomes more intent each time. The four coins are dumped onto the table from which a spectator selects two. These are placed on the palm of her hand and covered with the business card. Gesture. The card is lifted and one of the coins has vanished. She naturally examines the remaining one. This is again on her palm and covered. All eyes and anticipation is on the pending removal of the card a final time. After all, a “vanish to empty” is the ultimate effect, no? When the card is lifted a half dollar is found on her palm – the two quarters having “done their thing.”

With a half-dollar now “legitimate,” you can proceed with other effects as you wish.

Many other effects using borrowed quarters and a business card come to mind. Maybe I should write them up. If there is enough interest. The key would be having enough effects mastered so that each performance could be customized to the guests and setting – the only constant being borrowed quarters and business card.

Note: “not on video” implies that the presence of a camera or Iphone will destroy the intimacy and trust essential to the performance. Also, that the limited view of the video will never capture the interaction of all of the guests in the magic in the astonishment. This does not mean that video cannot be used to learn certain moves and sleights. The psychological ploys involved cannot be learned from video. Since one objective is for each performance to be unique, it cannot be recorded anyway.
"the more one pretends at magic, the more awe and wonder will be found in real life." Arnold Furst



ShareBooks at www.eversway.com * questions at funsway@eversway.com
Senor Fabuloso
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707 Posts

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I like things with borrowed objects. So for me I say yest to writing them up.
To hate those who hate is righteous.
magicfish
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5456 Posts

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Quote:
On May 31, 2017, funsway wrote:
For me, close-up magic has always been best when using “found objects” natural to the setting. As I am drawn to “intimate magic,” I also want to be appropriate to the observers/guests and any subject theme of the moment. Coin magic fits into these parameters – or used to. Now, larger coins are “strange objects” to many, and Internet exposure has made both props and hands suspect. What to do?

I also find that I wish to perform “effects” (what the observer remembers) that cannot be done on video or involve active participation of the spectators along the line of Etienne’s “Rope Loop” analogy of magic as art. So, imagine with me a possible routine.

A business card is borrowed from one spectator and an “eagle” quarter from another – both easily obtainable from today’s dinner guests. A drinking glass or coffee cup is also readily available. The business card is show to all using a natural twisting motion between the tips of the fingers of both hands that also casually display both palms empty and fingers splayed. The quarter is dropped on the table and covered with the card to establish a pattern and condition under which magic can occur. The card is lifted, the coin picked up and dropped into the glass held by a spectator.

The card and hands are freely shown again and the card placed on the table over an empty spot. After a magical gesture, the card is lifted to reveal a new quarter that is also dropped into the glass. This process is repeated twice more with he card hand hands shown completely empty at all times. The focus and attention of the observers becomes more intent each time. The four coins are dumped onto the table from which a spectator selects two. These are placed on the palm of her hand and covered with the business card. Gesture. The card is lifted and one of the coins has vanished. She naturally examines the remaining one. This is again on her palm and covered. All eyes and anticipation is on the pending removal of the card a final time. After all, a “vanish to empty” is the ultimate effect, no? When the card is lifted a half dollar is found on her palm – the two quarters having “done their thing.”

With a half-dollar now “legitimate,” you can proceed with other effects as you wish.

Many other effects using borrowed quarters and a business card come to mind. Maybe I should write them up. If there is enough interest. The key would be having enough effects mastered so that each performance could be customized to the guests and setting – the only constant being borrowed quarters and business card.

Note: “not on video” implies that the presence of a camera or Iphone will destroy the intimacy and trust essential to the performance. Also, that the limited view of the video will never capture the interaction of all of the guests in the magic in the astonishment. This does not mean that video cannot be used to learn certain moves and sleights. The psychological ploys involved cannot be learned from video. Since one objective is for each performance to be unique, it cannot be recorded anyway.

Sounds like a wonderful, intimate, mystery.
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