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funsway Inner circle old things in new ways - new things in old ways 9982 Posts |
A maxim of performance magic is to never perform the same effect twice, reasoning that an observer will be less surprised, and thereby more attentive to what you do not wish them to see. Misdirection, Inattention of Vision, and “less than natural” hand positions all suffer with a repeat showing. However, there can be an advantage in a multi-stage effect in which a Pattern of Performance is established that can create a false expectation in the spectator. Properly handled, subsequent demonstration of the same “trick” can be used to “close the door” on assumed solutions and methods. Often a different method is used each time with the spectator missing the subtle differences in their desire to “catch you.” Magic may suffer some but entertainment value will increase – at least in the story told afterwards.
This approach assumes that we know something of how a spectator thinks or that we can influence what he will be thinking about under certain situations – hardly an exact science. With multiple spectators we know they can feed off each other’s enthusiasm. Thus, we do not have to influence the thinking of every spectator equally – just be confident that the benefits of a repeat showing outweigh the risks. This Illusion within an Illusion is very powerful. I offer such an effect for appraisal with the hopes that each reader can check his/her own thinking against the suggested “guesses.” There is no right or wrong – just a chance to evaluate your own ability build a routine based on guesses about what a spectator might be thinking. Whit’s ideas about “The Dilemma” were very helpful in designing this effect. Lone Eagle (impromptu repeat coin thru table) You are sitting at a restaurant table with friends, having a cocktail after dinner. The conversation cautiously shifts to magic effects you used to perform before the accident. They were amazed at how well you managed dinner with only one hand, but secretly have doubts that they will ever see you perform magic again. When you offer to “do a bit of magic” their expectations are different from earlier performances; curious, doubtful, courteous – hopeful. You: “I will need to borrow three quarters – the old ones with eagles are best. Phil, could you please ask the bartender for a Pilsner glass, or a Collins glass would be OK.” Clear a space on the table and drop the three coins inside the glass, “Clink, clink, clink.” You: “This tall glass produces a nice sound, and I can’t get my fingers inside to get the coins.” Dump the coins on the table and set the glass on its side beside your open hand. You: “Simple objects: coins a glass and a table. Another reason for a tall glass is that I can grip it between my knees.” Place the glass under the table and rest your empty hand next to the coins. Everyone will now know you are intending to pass a coin through the table into the glass and form a mental image of that event occurring in their minds based on previous experience with such effects. Each will make an appraisal as to the likelihood of this occurring with some willingness to apply the term “magic” if it does. They may consciously review what has occurred: borrowed coins and glass, no suspicious moves, empty hand, a good reason for holding the glass with your knees, etc. You: “Each of you lent me some magic along with the coin and I have no way of knowing which will pass though first.” They all now know you are going to pass them though one at a time and not all at once – and a hint that you are not in complete control of the magic. You rub you palm over the three coins until a “Clink!” is heard from the glass as your fingers splay wide and lift. They will believe that the coin has passed though even though it is impossible – followed by some suspicion. You slowly turn over your hand to reveal only two coins on the table and a bare palm. There should be a second sense of surprise and an affirmation of “magic as the cause,” followed by a desire to see the glass. As if on command you retrieve the glass, shake the coin noisily and pour onto the table away from the remaining two. Set the glass down again on its side. It will be obvious that you could not have silently sneaked the coin inside – nor could you have secretly moved an invisible coin from the table to the glass since the coin was hear to fall into the glass before you moved your empty hand. You: “Now that one coin has shown the way, the next should be easier.” You have established a Pattern of Performance and invited them to observe more carefully the second time – either daring them to “catch you” or admit that something magic occurred. Gesture casually with your empty hand and again place the glass between your knees under the table. Slowly wave over the two coins so that they are occasionally glimpsed between your fingers – then suddenly press down. “Clink!” Pause, then lift and turn over you hand to reveal only one coin remaining. Gesture to the other coin with open hand. You: “It’s like a public works project. One person resting, one waiting and one working down in the hole.” Reach under the table and retrieve the glass. Hand it to one of the spectators. They will rattle the coin and pour it out next to first coin. (assist with gestures if necessary). Any suspicion about the coins or glass will now be removed. They may even examine the remaining coin which is OK, or rap on the table or look underneath. If there are suspicious glances at your hand, shake the hand of the person holding the glass while thanking him, then take back the glass. Put it under the table once more and between your knees. You: “This last coin might be a little stubborn, so everyone please concentrate.” Place your fingers over this last coin so that part is visible between your fingers and rub it on the table. “Clink!” Simultaneously the coin vanishes and your hand is rotated to casually show that the coin has passed through the table. (yeah, right!) Retrieve the glass and coin and stand up. Dump out the coin. You: “Maybe someone can take that six-bits and glass to the bar and see if that pretty girl will put some beer in it. That would be magic!” ………………………………………………………………………………………………………. Again – you may never want to perform such an effect. The question is about the assumed thinking of the spectators that directed the flow of the routine, the comments and the repeat actions. I feel that three passes is just right, but other performers may offer advice here. The second question is to what degree does having only one hand increase the apparent impossibility of the effect – and thereby any sense of magic or illusion? I believe that just pretending to have only one functional hand will not work at all. Anyway – it is fun!
"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 |
tommy Eternal Order Devil's Island 16544 Posts |
Magic is controlling the things of the outer world with the will alone. The less one seems to handle the things of the outer physical world the better. Controlling the things of the outer world having only one arm is more magical than having two as it is less physical and it would be still more so having none at all.
As for the rest of it I think Maskelyne gives us a few rules to follow with regard to SURPRISE AND REPETITION: (11) Always remember that a notable surprise is incapable of repetition; and that the repetition of an effect, of any kind whatever, cannot create surprise. (12) A minor conception ordinarily demands the cumulative effect of repetition; a conception important in itself should usually create a distinct surprise. (13) The simultaneous presentation of two independent feats is permissible when one of them is associated with cumulative effect and the other results in a final surprise. (14) Unless good reason can be shown, never explain, UPON THE STAGE, precisely what you are about to accomplish. I am not sure if they help because, well frankly I can not follow what you are saying or asking here.
If there is a single truth about Magic, it is that nothing on earth so efficiently evades it.
Tommy |
funsway Inner circle old things in new ways - new things in old ways 9982 Posts |
Thanks for the posting of these guidelines, the question being if (13)oveshadows (11) & (12)
Many popular effect like 3Fly, Matix and Multiplying Billiard Balls use the repeat principle in apparent violation of these guidelines. Chop Cup and many C&B routines use repetition but have a "Final Surprise" The described effect above could end after the transport of a single coin. So: 1) Do the additional demonstrations of a coin going mysteriously through the table enhance or deminish the "sense of magic?" 2) Do they enhance of deminish the entertainment value of the entire routine? 3) Does the fact of "only one hand" imcrease the value of either magic or entertainment? 4) How important is "surprise" to either Magic or Entertainment? If you saw this effect performed live, what would your reaction be?
"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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