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funsway Inner circle old things in new ways - new things in old ways 9982 Posts |
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On 2009-07-05 04:16, Lawrence O wrote: methinks this is a problem of Street performing and similar vunues. Since you may only have one chance with a particular spectator the focus is often on surprise or shock value, creating a dilemma that may never resolved. In a longer routine the performer can flirt with mystery and engage the spectator (and adapt) because he gives a promise of fulfllment. This sense of 'closure' or 'meeting a commitment' is a lynchpin to the appreciation of magic IMHO, since those are missing in everday life. One paradox is that dealing with everyday events which should be under our control is often "fraught with peril," while a fanciful magic effect that deals with impossible things is under the performer's control. Charles Revson, founder of Revlon, was once asked what he sold in those tubes and bottles. "Hope," he replied. Is it any different with performance magic? Only magicians let the djinn out of the bottle AND put him back in.
"the more one pretends at magic, the more awe and wonder will be found in real life." Arnold Furst
eBooks at https://www.lybrary.com/ken-muller-m-579928.html questions at ken@eversway.com |
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Dynamike Eternal Order FullTimer 24148 Posts |
Step inside Brad Burt's magic shop and take a peek:
http://store.nexternal.com/shared/StoreF......00342965 I'm sure you will be satisfied. |
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Brad Burt Inner circle 2675 Posts |
Lawrence makes a great point and I'll give an example from the world of Comedy: Tim Allen. Here's a superb example of an act with a theme, a hook that you can really catch onto and remember: He's the 'tool' guy. The garage mechanic, do it yourself, etc. guy. However you want to think of it you remember Tim Allen as the grunting, possibly covered with old car oil dude.
Another perfectly themed comedy act is that of Emo Philips. Here's the goofy, androgynous, slightly dangerous in the way that one feels about a drunk carrying around nitroglycerin type of guy. Spacy and just not quite all there. Perfect and very, very funny. Per the turn of this discussion it might be instructive to attempt to think of magical illustrations of this concept that have really worked. For instance: Marvin Roy as Mr. Electric and Johnny Thompson in his Polish magician theme are perhaps the finest examples extent. Extreme examples would to me be: Rudy Coby and Kevin James. Close-up wise Martin Nash's The Charming Cheat is simply unsurpassed and a joy to watch. Part of the problem in forming a 'character' of your own is that one can fall into the trap of thinking that the character must be 'like' the examples above. I selected those, because they are the most easily definable as 'not' who the person is necessarily in real life, but an extension of who the person is in character and talent and effort, etc. In my own case my performing persona would be difficult to tell from the real me unless you knew me quite well. I offer each 'routine' in the act as if it's a special gem of mystery that they 'the audience' will just love to see and experience. Linking Rings has no particular connection to Needle thru the Balloon except that they are thematically 'mysteries' for me to offer up for the entertainment of the watchers. Much as in a way a Side Show Barker might offer "Ten wonderful mysteries for you fascination and enjoyment!" My character is the one who holds access to those mysteries in the palm of my hand and I want nothing more than to share what I have discovered with my viewers. A 'character' in other words need not be someone wholly 'other' than who you are, but simply a well defined 'who you are' at the moment that you are in performance. WHO you are in performance will often start with the question: WHY? Why are YOU performing? What do YOU gain? Don't be fooled. Performing is NOT an altruistic mode. It may have altruism as part of it's thrust into the public square, but YOU gain as the AUDIENCE gains from your performance. In a very real sense EVERY performance should be a Win-Win situation. How do YOU win in what you offer to your audience? All the questions you can ask that define what, who, why, where, etc. will help in defining your performing personality and it does not have to be that difficult. Start keeping a performing journal or diary. Make note what what happened, how you felt, how the audience reacted. What did you try new? What worked again. All best,
Brad Burt
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daffydoug Eternal Order Look mom! I've got 14077 Posts |
Brad, thank-you for that wonderful advice! Fills a long standing need.
The difficult must become easy, the easy beautiful and the beautiful magical.
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MichaelDouglas Special user Portland, Oregon 766 Posts |
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On 2009-06-15 12:59, Brad Burt wrote: Thanks Brad. Instead of a pad, I threw all of what I know into an excel spreadsheet. I'll review what I have against what you've shared to help me improve. Thanks again. |
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