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Alan Wheeler Inner circle Posting since 2002 with 2038 Posts |
Context is everything that surrounds and comes along with the magic performance, and there are probably nested frames or levels of context—even in a performance that is not self-reflexive and creating a kind of infinity mirror (as when a one way mirror that we can see through faces another mirror, effecting an infinite regress). An example of this approach in narrative art would be framework narrators telling stories within stories which carry storytelling as the principle theme. I’m not sure there has been produced a magic show framed by a magic show with magic shows as the principle theme.
One step inward from such artsy modern and postmodern possibilities, there are presentations which are more or less straightforward satires or parodies of magic performance, for example, Ballantine who plays on the conventions of the magic novelty act as a genre as he pokes fun at his own character. The parody, while perhaps not providing infinite multiplicities of meaning in itself, does set up at least one additional frame as it may cause the audience to consciously observe the act of doing magic tricks. Going yet one more step inward, reducing the number of nested frames as we go, there is the deceptively simple frame of reality. One example would be that everyone attending the performance understands the magic to be entertainment. Some may understand the deep importance of entertainment, diversion, and laughter as good medicine, while others may just enjoy the show; nonetheless, the magic is understood simply as entertainment. Disclaimers, winks, and other devices may remind the audience of the frame of reality. (This frame may be revealed as more complex than the simple surface suggests when the reality of a mental act or paranormal show is left ambiguous.) Still going inward, there is the audience-specific context as addressed by the performer. I perform in a classroom, for example, and tailor the presentation to fit college students. In the movie, the Illusionist produces coins for beggar boys, identifying with an unmet need. Stepping further inward, there is meaning or presentation that lies outside the effect and impact, but is also on the stage, on the performer’s side of the proscenium arch. This context can be created abstractly by magically sticking cardboard square together and inviting the audience to imagine “making a sandwich.” Differently this level of context could be created concretely by using earplugs instead of sponge balls or explaining that your metal cups came from mars. I would argue that going inward one more step we find the effect proper, undressed and in the flesh. Here there may be a more elemental meaning as a candle lights, doves appear, money multiplies: light, life, increase! One last step inward may bring us to the impact of experiencing the impossible itself. There may be a numinous, primal, context here. Somewhere close perhaps we can find the text itself.
The views and comments expressed on this post may be mere speculation and are not necessarily the opinions, values, or beliefs of Alan Wheeler.
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Pakar Ilusi Inner circle 5777 Posts |
Wow, I'll reply properly after I read the whole thing.
Good post, I think.
"Dreams aren't a matter of Chance but a matter of Choice." -DC-
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funsway Inner circle old things in new ways - new things in old ways 9982 Posts |
Part of the context of "magic for entertainment" seems to be a desired result of "Oh- must be magic."
The use of performance magic for other than entertainment might desire the result of, "Oh- I must reconsider what I think is impossible." I read some where that the best magic effects are those that deal with the "highly improbable" rather than the "not possible" or "non-possible" phenomena. Is this "context?"
"the more one pretends at magic, the more awe and wonder will be found in real life." Arnold Furst
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Alan Wheeler Inner circle Posting since 2002 with 2038 Posts |
Going from the inside out: (ignoring for now trascendental text or subtext)
1. Primal context that allows impact/astonishment 2. Universal context that informs effects 3. Presentational context that defines the experience (are the metal cups from Mars, Egypt, a 1950s picnic basket; is the matching number a coincidence or a prediction) 4. Context of venue: time, place, culture, audience expectations 5. Standard context of entertainment 5. Additional frameworks such as satire, parody, or artistic genre 6. Metaphysical frameworks such as self-reflexive modernism or postmodern simulacra
The views and comments expressed on this post may be mere speculation and are not necessarily the opinions, values, or beliefs of Alan Wheeler.
A BLENDED PATH Christian Reflections on Tarot Word Crimes Technology and Faith........Bad Religion |
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