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The Magic Cafe Forum Index » » Deckless! » » B'Wave Trouble with an Arrogant Spectator (0 Likes) Printer Friendly Version

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MagicbyCarlo
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I had a similar problem once and worked out what I considder a perfect script. Although Roger "can't stand it" I found it a challange to make this a steady worker and did, exactly that.

The context of the effect needed to be changed and guys like Eugene Burger and Just Alan and several other people including myself use the idea of this being about the imagination of the helper not about how clever or crafty the performer is.

This effect for me has been one of the most consistant "No way!" reaction getters in my working repertoire as a result. Loyaleagal if you would like my take on this effect PM me.

An interesting journey is always more memorable than a clever trick.
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MagicbyCarlo
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Quote:
On 2009-05-31 23:37, Samuel Catoe wrote:
Dude,
I'm going to give you the wording I have used. So far, I have had people try to wiggle out of it, but haven't been able to so far.

I need your help for a moment please. You'll have to use your imagination for the now. Imagine I have four cards (then I name which cards they are). I need you to take two cards out for just a minute. Would you like to take the two red cards or the two black cards? (They make their choice and tell me. If they say black, I say) Great, now I'm going to put the two red cards face to face so that you can't see either one. Now if you would put the two black cards back with one card on each side of the two face to face cards. Let me ask you something, with the red cards face to face, if I were to spread the cards out you would see one of the red cards peek out from the middle. Which one would it be, the heart or the diamond?

If they say red, I ask the volunteer to put the two red cards face to face themself and then put them back, in between the two black cards.

Good luck with it and have fun.

Sam, very close to what I use, with some minor touches, lines and convincers that I have found work very well for me.
I say "...Imagine that I have removed two cards, either the blacks queens or the red queens. In your imagination which did you picture me removing black or red?" and I hold up my thumb and forefinger pinched together as if holding the cards.
Carlo DeBlasio
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Alan Munro
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Equivoque works fine for me. It's simply a technique that magicians think they can just wing, and it doesn't work that way. You have to know what you're doing. I used to hate equivoque, until I came across the right teacher - David Eldridge. Sure, I disagreed with one of the gambits used, but the others worked just fine. For B'Wave, his technique has always worked for me.

I suppose that if one is unwilling to work on the right technique, a switch wallet could be used with two different sets of cards.
Koolmagic114
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Totally agree with Kjellstrom. As I have used pretty much the same method and have always started with 2 sets. Red & a black. So this has always eliminated any problems with spectator right away. All though I never did have any problems just using one set. But in my mind using 2 was just that much more safer for me. Love the himber wallet idea though.
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Vlad_77
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I realize that Loyaleagle started his thread a couple of years ago but I wanted to contribute a few random thoughts.

1. I never EVER script anything. I have a general idea what I am going to say but a tight script can turn on you faster than a Black Mamba. Steven Youell has some great discussion on the perils of tight scripting in his new Classic Force treatise that I believe applies to all of magic.

2. No effect is "sure fire." I may - pardon the pun - draw heat from this comment but I believe it is true. Murphy's Law applies so well to the performing arts and to magic in particular - and remember: Murphy was an optimist! Smile

3. Linguists and those who practice NLP will tell you that language itself is quite deceptive. I realize that Roger hates equivoque so Roger, have a pint and ignore this point please? Smile Salespeople are taught to ask questions of their clients such that the answer leads to a positive outcome. They never ask a closing question or a question that leaves no "out" unless they are sure that the deal is closed. (I believe that politicians are MASTERS of equivoque BTW).

Those three points and 5 Euros will get you a bag of ollebollen in The Netherlands for New Year, but maybe there is sense in there somewhere.

Ahimsa,
Vlad
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Very interesting thread indeed. So does it mean Twisted Sisters is better than B'Wave? Smile

Anyway, I love the approach from Samuel and mdspark, but I agree with Vlad, we can have the basic outline of the patter but don't get too attached with our own script. I think at the end of the day, we have to be flexible with our own patter and it changes depends on the type of audience as well.

And I have to vouch about not getting involved with stodgy spectator Smile I usually 'read' the mood of my students. If I sense they're gonna be a really hard audience, then I don't show or do any trick for them.
Magic comes through perception. -HS
Vlad_77
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Quote:
On 2011-12-30 12:31, Failed Magician wrote:
Very interesting thread indeed. So does it mean Twisted Sisters is better than B'Wave? Smile

Anyway, I love the approach from Samuel and mdspark, but I agree with Vlad, we can have the basic outline of the patter but don't get too attached with our own script. I think at the end of the day, we have to be flexible with our own patter and it changes depends on the type of audience as well.

And I have to vouch about not getting involved with stodgy spectator Smile I usually 'read' the mood of my students. If I sense they're gonna be a really hard audience, then I don't show or do any trick for them.


Hendra my friend,

I wouldn't say that Twisted Sisters is better than B'Wave or vice versa - a debate that has raged in the community for quite a while now. I am not a mentalist but I would hazard that the mentalist would prefer B'Wave because there isn't that magical "out' that Twisted Sisters has. A mentalist is not going to do an effect that is a transposition as it smacks of magic. But that is just my relatively uninformed opinion as a magician. Perhaps mentalists would disagree.

As far as patter, I would again reiterate what Steven Youell argues in The Classic Force. A tight script that is interrupted by an uncooperative spectator could be disastrous to your timing and presentation. I believe - and again just opinion here - that this applies more to magicians in the close up arena more than to illusionists and mentalists for example. While actors DO work from a very tight script, we are also taught to improvise as Cameron Francis will attest. The rule in live theater is that if the other actor misses her/his line, YOU need to improvise such that the flow of the play continues and gets the performance back on track without the audience realizing that a miscue occurred.

Happy New Year,
Vlad
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Hi Vlad,

Thanks for the reply. I do improvise every single time I do an effect with the audience. Even we have an outlines of reactions or responses they might give you, sometimes it could be the one that you've never expected before.

So I do have the major outline of the patter, but the small bits, the jokes (if it is appropriate), and other lines are always improvised. Then again, different cultures have proved different reactions and responses. I am lucky enough that I've got the experience in doing some effects to totally different types of audiences.
Magic comes through perception. -HS
bsears
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It seems to me that equivoque has become more common knowledge among laypeople in recent years. I think this is due to the internet/over exposure and the fact that even some beginners tricks and sets now include effects that utilize it. Anyone else finding this to be true?
David Eichler
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Back in May of 2004 when Dan Harlan was the guest of the month, he treated us to an artful demonstration of equivoque. It floored those of who were were watching and/or participating in that thread. Have a look.

http://www.themagiccafe.com/forums/viewt......&start=0
Denis Bastible
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I have a coworker who just does not like magic unless he is able to sniff out the method or deconstruct the trick. I had done B'Wave many, many times with great reactions and for some reason, knowing how this guy was, I did it for him. He was floored at first until he asked to look at Queen. I was then floored. That was the one and only time that happened and I never had trouble with anyone with the initial elimination phase of the black Queens. I only do "ends clean" magic for this guy now.
MeetMagicMike
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Bsera wrote:

Quote:
It seems to me that equivoque has become more common knowledge among laypeople in recent years. ... Anyone else finding this to be true?


Actually I've always thought equivoque was well known among lay people because it is one of the most common tricks people show me is the one where you make a bunch of small pile and ask the specs to touch a few then you eliminate or keep the ones they touch. (They will do this say, ten times in a row with no concern that any will notice).

Some one who knows that trick will suspect you are doing the same thing even when you use it only once in a subtle manor.
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Alan Munro
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Quote:
On 2012-01-14 13:33, bsears wrote:
It seems to me that equivoque has become more common knowledge among laypeople in recent years. I think this is due to the internet/over exposure and the fact that even some beginners tricks and sets now include effects that utilize it. Anyone else finding this to be true?


Not really. It requires acting skill to make it seem as if the procedure was already set in your mind. I continue to floor people with straight equivoque.

Quote:
On 2011-12-30 07:36, Vlad_77 wrote:
1. I never EVER script anything. I have a general idea what I am going to say but a tight script can turn on you faster than a Black Mamba. Steven Youell has some great discussion on the perils of tight scripting in his new Classic Force treatise that I believe applies to all of magic.


I think that some phrases will need to be tightly scripted, in order to be effective, but the overall presentation needs to be loose.
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