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lorenwade Special user 869 Posts |
Quote:
On 2010-12-16 23:15, Sammy J. wrote: That made me laugh out loud. |
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funsway Inner circle old things in new ways - new things in old ways 9982 Posts |
Many spectators are as adept at reading body language as any mentalist, and "sense" when you have done something tricky. It isn't enough to just develop skills of masking the dirty hand, or even conditioning the audinece to accept your lies. You must act as if you believe the coin to be in the "clean" hand -- to execute the sleight so well you fool yourself.
I believe that extraordinary performers like Mickey do not thing of the sleight to be performed -- only the end result, and the body takes over and does when is appropriate to the setting and audience. A tennis playing does not have to conscioulsy think of how to hit the ball - only of where he wishes the ball to go after it is hit. Why should it be different for a magician?
"the more one pretends at magic, the more awe and wonder will be found in real life." Arnold Furst
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mtb New user South Africa 61 Posts |
Thanks for the great ideas.
Definitely stuff to work on. |
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HerraTaikuri New user Helsinki, Finland 60 Posts |
Sometimes when I see that member of the audience is suspecting my dirty hand I directly react to that for example by asking "Do you think that the coin is really in my left (dirty) hand instead of my right?" then do a Ramsey Subtlety etc. move to show my hand empty and say "I really apreciate how much you trust me." etc.
In best cases this gives the audience a laugh and takes the attencion away from my dirty hand, but I have to be really careful when doing something like this, because the audience is laughing at the suspicious person not to me. And if the person being laughed at can't laugh to himself, this can end up really badly. |
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Curtis Kam V.I.P. same as you, plus 3 and enough to make 3498 Posts |
There's a section of the Café that's now open to you, if you've got the posts. In it, I cover the first parts of Bobo's Modern Coin Magic, and I'm pretty sure I included Edwin Sachs' approach to this situation. It requires a lot of nerve, and involves directly challenging the audience as you thrust your hands at them. I'm not sure it's a good idea, but it's there for your consideration. Like Mickey, Sachs believed that all suspicions MUST be addressed, and in Sachs' case, answered. (and skeptics beaten into submission) I don't work that way, but it's good to have these tools in reserve.
Frankly, I find the suggestions Andrew made to be more useful, and they have the advantage of getting you out of trouble without turning your show into a boxing match.
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Lance Pierce Special user 878 Posts |
The 13th item on Andrew's list is to completely change your premise. By your description, you started by telling (and, indeed TEACHING) them that everything was about to be accomplished by sleight of hand. That's not inherently wrong, but it does give the audience the awareness and freedom to look at anything they want regardless of what you say and do. If, by your own admission to them, the performance is all based on manual trickery, I'm surprised they ALL weren't burning the dirty hand at inopportune moments. After establishing such a premise, you have to use your sleight of hand in a way that eludes (or even takes advantage of) this awareness you've created.
Regarding the dynamic of the false transfer itself, it's often not enough to let the dirty hand drop to the side while you hold your other hand up and talk. There needs to be something much more interesting taking place at this point. If someone is focused on the dirty hand, that's because it's the most interesting thing to him at the moment. So, a possible 14th suggestion is to arrange events, not actions. The actions only exist to create the events; but it's the events that are important. Figure out what you want to happen and keep it interesting, and then choreograph your movements to create that. |
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mago.niko Loyal user Athens, Greece 286 Posts |
Barry in my begining I had the same problem as you.. My "dirty" hand was often
attracting people's interest. Mr Al Schneider gives some wonderful advice in "Theory and Magic vol.1" such as relaxing your arm, your shoulder and generally using your body language to convince people.. As Mr. funsway said ,you must be the first to believe that the coin is where it should be (and not in the dirty hand)..
Searching for the magic side of life...
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BarryTX Regular user 133 Posts |
All of the responses to my original post have been very helpful to me, and has caused me to really step back and think about my approach. Perhaps it is a normal way for the presentation to evolve, but I realize I have been fixated on the mechanics of the sleights far more than the presentation itself. Lots more to learn, but I am broadening my focus. Many thanks again to everyone who has offered thoughts and recommendations, it is most appreciated.
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