I'm wondering what your close up mentalism routines are like? What mental effects do you use, and in what sequence? Do you have any special themes, etc.?

Just so happens that I performed Alan's 'Creating Impact' routine for the 3rd time not more than an hour ago.

May I ask why you want to know about MY routines? For what reason?

Jerome we want to know your routines so we can steal them and make some money. That is not a lot to ask is it?

Cornelius. the reason nobody wants to answer your question is this. We all have access to the same effects. Sure we all have our own effects, but we obviously use marketed material as well. How we routine and script this stuff is the thing that seperates us. Its bad enough we all perform the same effects. Should we do each effect and routine exactly the same as well?

Chichi, there's no need to jump to conclusions. I believe my question was innocent, and I do not plan on stealing your routine - or anyone else's. Indeed, it would be a terrible thing for the art if everyone were to perform the same routines. I also think it is a terrible thing for the art when performers are extremely overprotective.
To be fair, I will recount to you my own closeup routine:
I start out by performing "The Germain Gem" from Annemann. The "bringing up people from the dead" talk leads naturally into the idea of time, which leads naturally into "Psychokinetic Time" from Banachek. Finally, as a big closer, I perform my own version of the center tear.

I'm curious; so many people “perform” the center tear, do they show the center after they have torn the paper and pose for applause? Or is it a torn & restored type effect?

Seriously, the only people I've ever heard refer to a utility move as a routine are the people here at the Magic Café. It may be a pet peeve, but when I read this I wonder about the person posting.

If this person were posting on a card forum, would the act open with an AFTUS, progress on to a Faro, then climax with a double lift?

As for being overprotective on our acts, it depends on where you are. The security of one's material (for performers) goes through 3 distinct and often overlapping phases:

1. Novus phase: We share our ideas and concepts seeking approval and looking for respect from our peers, also looking for advice to improve our material.

2. Intermediate phase: We hold our acts close to the vest, not wanting others to take what has taken us years to perfect. We know it will happen, it always does. Material when shared is either not as it is performed, or exchanged between respected peers.

3. Professional phase: We have our material down, but have realized that it is we who are the acts. Others may steal material (and will) but it is the reaction that we get they are looking for.

(There is, of course, the teacher who tries to help those in the art grow, but that is outside the scope of this thread.)

Just a few thoughts

Tony

Nice post Tony. "It is we who are the acts" TRUE!

JZ

[quote]Just so happens that I performed Alan's 'Creating Impact' routine for the 3rd time not more than an hour ago.

It does give a kick doesn't it? Once I've done that little routine I can't do anymore... it feels like overkill. Although Palmistry Quickies would take the conversation into a whole new area with new possibilities, and remain credible to the central theme of what just occured.

Just a thought.

So there you go Cornelius, a little routining advice if you read between the lines.

And with Tony I concur. I mentioned the same thing in another thread here on metal bending. It's you that sells the effect of magical experience on the audience, not the magical effect or trick.

Wow! Mr. Tony Iacoviello that was a very insightful post. You nailed it.

I think it is great when people are willing to help those that want help. But, we can all do well to remember that it is not required for a total stranger to help us.

I have people that were instrumental in helping me (as I am sure we all do), but ALL of them had seen something in me that made them feel like it was worth their time to help me. And, I was told that they could tell I was willing to put in the real work myself with the knowledge they gave. I also showed enough originality in my own work that they knew I would not just become copies of them.

It is of course hard to do that online. Few of us have any idea who the person is on the other side of that avatar (or silhouette of a rabbit in a hat). So, it is hard to feel like giving out the info that you don't like others to know.

My mentors in Mentalism and Magic still won't teach me about certain things that they don't think I am ready for. I genuinely respect that. It is their choice.

The Internet makes sharing knowledge VERY easy, but some knowledge may need to be earned. That is really up to the person who holds that information to decide.

Lincoln

Hi Lincoln

Surely Cornelius's previous posts would give some indication of his
mentalism character?
Cheers
TJ

The words used highlight the person behind the keyboard

Dunno about a routine per-se - but I performed David Regal's "All Strung Out" for our club members the other night. Works well close up and the double equivoque flew by all but one there! Its on one of his Trilogy DVD's. Nice effect and suggests odds of a 15,000 plus to one outcome.

It's not so much a routine of mine, I just perform the tricks on and off.

Everyone's routines are of their personal choice for one reason or another. Personally I do not do Banacheks ??? or Osterlind's ??? or anyone else's routine. The TT for example is merely a tool. I don't want to use it in any manner that could be called someone else's routine or act. I would not consider my effect worthwhile if anyone even recognized that I was using it. I have read the books and watched the DVD's. I also consider them tools. Not something to be copied. To me the challenge is to be different from everyone else. Yes, I wish that I could do many things that I have seen other performers do because I enjoyed their performance. But I never will because it would tell me that my talents were extremely limited. We are supposed to be mentalists which means we are thinkers
and that is what makes this form of entertainment so special. That is the challenge for each of us..to think on our own. Otherwise we will be as common as the fella who asked me if I liked card tricks. I told him NO. So he only did five.

Hi Carolini
Well said
TJ

The yellow smiling face was at the end of my first statement for a reason.

I did give you my real thoughts after that. I was not trying to be rude.

I just carry my Stealth Assassins Wallet & Predator Wallet, they are both my everyday wallet, I carry more than 10 plastic cards (membership card, credit cards, debit cards, driver’s licenses, I.D, etc...)

I can do walk around Close Up Performance just carrying this two wallet for two hours with 6 different set of effect, that will be total of 18 effect all of them is Mentalism Effect

All of my effect has been scripted and thought out so it will suit my theme and my character; I use Influence, Hypnotism, Suggestion, NLP and Nonverbal Communication as a theme

And in each set I try to compose the effect as the strong, stronger and the strongest effect, because I design my close up in the assumption that I might get interrupted after the 1st effect, then I can end strong, or after the 1st effect then I feel its not the right time to approach that group, then I have to move on to different Group and I still leave them with the strong effect, so No Filler material

Hope it helps

As for sources of material for the close-up and walk around mentalism performer, Mark Strivings has produced Mobile Mentalism. My first book, INSIDE OUT, is almost entirely on close-up mentalism and there are a good number of close up effects in my second book, UNCONVENTIONAL too. In addition, my DVD on close up mentalism will be released in about 6 weeks. Cheers.

Christopher