|Topic: Stage Show|
|Pete, what would your stage performances consist of?|
|Mentalism stuff I think ;-)|
Hi Mindpro, can you be a little more specific?
Please don't think I am being rude, just my understanding that's at fault.
Do you mean material?
Sure, is it more emotional stories seeking personal connection like in your close-up, or do you venture into standard fare such as Add A No, Tossed Out Deck, 4DT, Psychometry, Q&A, Book Tests, Metal Bending, Blindfold work, etc.?
For some reason I got the feeling you didn't do much of this type of standard mentalism fare, but then I've seen others refer to DD and I thought Add A No, so I wasn't sure.
I very much love the classics :D
4dt is one of my favourite routines!
Have an an interesting take on Bobs/ Bernsteins Name place routine. I only have a couple of stories littered through the show as they can tend to be a little much at times.
I use VERY LITTLE dual reality, most of my dual reality is just linguistic or an out should something go majorly wrong (which would be down to a !@#$ up on my half). I occasionally throw one or two in.
I open the show (after the short introduction with a question)
"How many people in this room by show of hands believe they have an intuitive power or powers?"
I let the audience's hand go up and its obviously never a lot of people (but it is interesting to see the difference in amounts).
"I find it's interesting that not everyones hand went up there, I believe each and everyone of us has an intuitive ability, we just take it for granted. So how does mind reading work?
It can either work in a very fast sense or a more drawn out sense. Let me demonstrate this in a very fast sense.
Madam can you stand for me?
(The mic gets to her at this point, depending on the size of the venue)
I have never met you, we literally have nothing set up (let her respond) and I don't even know your name (let her respond) so there is obviously no way I could have profiled you in any sense.
What is your name madam?"
Can you think of an object or an item on the spot for me?
Focus on this items qualities, is the item heavy or light, is it something you hold in one hand or two. Focus on the texture of the item and its colours if their are any and when you have all of that in mind give me a nice loud yes.
(She says yes)
Look right at me and throw your thoughts down here.
Is this item Red?"
She looks a little freaked and confirms it is!
The audience give a little sporadic applause (as I purposly drop the reveal in a juxaposed place to set me up for the nest line).
"Please, please, don't applaud me now because if the next bit fails you will have to boo me." (Old chan line but works so beautifully here).
Can everybody give Joanne a huge round of applause as she joins me on the stage".
(She arrives on the stage)
"So Joanne, I have a question that makes no sense at all but in a moment it will make all the sense in the world. As far as you know you have never met my Grandad before correct?"
She confirms this is the case.
"So logically nothing my Grandad ever did in his life had an effect on yours in anyway that makes logical sense. Let me tell you all where this started for me".
This is where I move into a short story where all of a sudden everyone in the room realises that everything my grandad did in his life had a direct effect on theirs no matter how big or small. During that story everything comes full circle.
I revel her job, starsign and date of birth.
The problem with ending here is that you get the round of applause and then you have to directly ask for another after to reseat her.
(Unless of course you use the line "If I get this right return to your seat". The problem is with that line is I find too much is going on at the same time the audience don't know where to look).
So I proceed,
"Now Joanne I told you that the greatest things in life always come full circle, at the start of all of this before I even asked you to join me onstage I asked you to think of an item or an object.
Out of interest, what did you think of?"
She says "Red Rose"
Look at her earnestly.
"The sceptics will always say this was just a coincidence whereas the skeptics will undoubtably say this is fate"
I produce a red rose while saying
"Thank you for being a wonderfull participant"
Which suggests to everyone that her time on stage is finished with just the language!
(Thats how I am opening my shows at the moment).
Then I make a statement that peeks peoples interest.
"Let me tell you how that worked. Every single day, every single one of us makes one estimation or another that's a fact. So for example a carpenter might make certain estimations as to what wood or measurements to use for certain projects. Think about your own lives for a few seconds, go back a few years and think about the estimations you made then and then focus on the estimations you make now.
I am willing to bet the estimations you make now and after all the lessons you have learnt in life I bet the ones you make now are a lot more accurate than the ones you made back then. That goes to show you that estimation is something we can practice and we can practice it until it becomes second nature and the definition of second nature is intuition.
For that reason I am very sure every single one of us has an intuitive nature. Let's find someone in the audience to demonstrate one of their intuitive abilities that they may, or may not know they even have".
Then I proceed to let them devine the contents of an envelope.
that's the open and second routine for my show, don't want to share much more as I don't want it lifting by others.
I very, very much like the classics.
I used to have a standard confabulation in the show. Have used chair tests, 4dt, Moabt, Not everything I do is long and drawn out.
I worked in a nightclub last night, imagine the amount of artistic compromise ;)
The reveal and the set up is where I focus all my attention, I have a lovely pk time routine at the moment (not for stage obv) but I have fallen in love with it! Same technique just a new presentation.
I have a managery of Pk touches including some that you wouldnt believe! I was talking to martin pullman about one just the other day :D
Hope that gives a little insight!
|Peter's PK Touches idea is terrific. It is the tiny details in Peter's work that I find so fascinating. His "jazz" is built on extremely solid foundations. Like Canasta.|
It's good to understand that you love the classics. With all of the hype about your new perspectives, storytelling and one on on emotional work, and new legend, I rarely heard any mention of the classics. It always seemed like newfangled material. I think this is why I asked previously about if you did stage work, and inquiring about where any material on your stage work could be found.
It seems most of the talk about Pete Turner comes from your followers with little actually coming from you about you, so your videos and responses to this and other posts here really shed a much better light on you and what it is you really do. Sometimes your "amazement" and "blowing of minds" to these followers of yours overshadows who you are and what it is you're really doing. I get that many are interested in the "personal experience" but I've always contended some of us were more interested in the "bigger picture".
Now this only makes me want to learn more about your takes and approaches to the classics.
I must say the opening you described above was extremely similar to the opening of my former shows a couple of years ago, so I must say I was quite fond of your thinking here - lol.
Great minds and all that!
Thanks for the question x
You have shared some invaluable tips & presentation angles. Thank you for your generosity.