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mndude Special user 879 Posts |
What do you say to a spectator who wishes to examine your non-examinable magic gimmick? Like the coloring book that changes colors, and so on.
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RobFromNZ New user New Zealand 99 Posts |
This doesn't often happen to me, I guess because I talk too fast or something!
I guess it depends on the situation. Sometimes I just move on: "hang on, I've got something else to show you. I think you'll like this even more". Other times I'd just brush it off: "no, you can't look at it. I paid five thousand bucks for that from a magician at a flea market. I ain't showing you the secret for any less than four!" |
Dick Oslund Inner circle 8357 Posts |
Apparently your presentation is conveying the idea to the spectator that "it's a trick book"
Your presentation must convince the audience that YOU are the magician--and the MAGICIAN makes the "magic happen". Even the way that you hold and/or "manipulate" the book can convey that impression.--that it is a trick book, For example, just holding the prop "too carefully" can do it. The too often heard, "I bought this coloring book at a magic shop and look what I can do with it!" is certain to cause the reaction you mention. One of the problems we have today is the would be magician who only reads the instructions. and then DEMONSTRATES (NOT PERFORMS!) the catalog effect. Few of these magician wannabees will even consider reading a book like Henning Nelms' "MAGIC & SHOWMANSHIP"!!! THE PERFORMER IS ALWAYS MORE IMPORTANT THAN THE PROP! WITH THE PROP, THE PERFORMER CAN PERFORM A TRICK. THE TRICK, LIKE MUSIC, ONLY EXISTS WHILE IT IS BEING PERFORMED. IF THE PERFORMER HAS TALENT, "MAGIC" WILL HAPPEN. THE MAGIC WILL HAPPEN (ONLY FOR A MOMENT) IN THE MIND OF THE SPECTATOR,.FINALLY, MAGIC IS N O T I N H E R E N T L Y ENTERTAINIING. NOTE: I am not "accusing" you of the above, I'm only mentioning them as an examples. Others may contribute their opinions. READ! So! Get your presentation video taped, analyze your presentation. Find a mentor,or at least a performer whose opinions you respect and value. READ SOME BOOKS THAT DISCUSS "PRESENTATION".
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
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Dick Oslund Inner circle 8357 Posts |
PS, You are revealing your 'beginner status' when you refer to the COLORING BOOK as a "gimmick"!
Learn the terminology of the trade!!! BTW:::the CB does not "change colors"!
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
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satellite23 Elite user 424 Posts |
Haha, listen to Mr. Oslund's first post alot, not quite so much on his second post. What he means to say is this: the coloring book isn't a gimmick by itself, but the actual gimmick inside of it is a gimmick...know what I'm saying?
Usually, if somebody seriously persists in seeing anything, whether it's gimmicked or not, I just wink at them, politely tell them no, and continue. Most people won't stick with it after that. |
Robin4Kids Veteran user Lower Alabama 396 Posts |
Anytime you can ditch the gimmick and allow the prop to be examined, it can make the effect more magical. In the case of a coloring book, you can make your own and make a duplicate ungimmicked book that can be switched and examined. It really baffles those that thought they knew how it was done!
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Dick Oslund Inner circle 8357 Posts |
Hi Robin!
Yes, BUT! I agree: IF you can "ditch & switch", the performer CAN very possibly baffle the occasional spectator who wants to "see" a prop. HOWEVER!!! Doing this can easily set a "dangerous" precedent. Especially, this could be true with youngsters. I can picture the performer being stopped after each effect, by kids who want to examine THAT prop, too! The (modern) magician's purpose for performing is to ENTERTAIN! The old show "biz" maxim is: STOP THE SHOW--BUT, DON'T SLOW IT DOWN! "STOP" in the previous sentence means that you should perform so well that the spectators STOP the show by applauding (or laughing) so enthusiastically that the performer must wait for them to cease their response! If the performance is halted after each effect, to allow a prop to be examined, the tempo is destroyed. (TEMPO, TIMING, and TIME are ALL CRITICAL if the performance is to be a success. For years, when I do a lecture, I have briefly defined the "three Ts". I am writing a few hundred words on the "three Ts" in my book. ( I submit that stopping to examine props is not particularly entertaining! I will "admit" to ONE exception to this! (Of course, speaking philosophically, THE EXCEPTION "PROVES THE RULE"! The one exception that comes to mind, is the three pieces of rope used in the Professor's Nightmare. However, in the case of the PN, I have three spectators hold the three pieces of rope, BEFORE performing the effect. (I DON'T say, "EXAMINE the ropes." I hand the ropes out rather casually and have a few lines and gags to cover this action. The PN is EARLY in the act, and my presenting the effect in this manner, seems to satisfy the spectator's desire, before they express that desire! They are so busy laughing and applauding during the performance, that they don't ask to examine anything. They want to be ENTERTAINED! I sincerely hope that this helps to clarify my previous comments. ------------------------------------------------------------------------ I also appreciate the honorable 23rd Satellite's comments. --(Especially when he recommends that mmdude "listen" to my first post on this topic!!!) One of my college professors always stressed: "DEFINE YOUR TERMS!" So, for the record, a gimmick is an unseen device that "contributes" critical "assistance" to the effect. (I'm trying to define a term without exposing too much on a public forum!) Do not confuse a gimmick with a feke! (e.g.: A TT is not a gimmick, it's a feke!) End of 'sermon'! --hee hee!
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
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Ray Bertrand Inner circle Ottawa, Ontario 1452 Posts |
Handing out props (whether gimmicked or not) is generally a time waster. There is only one effect I perform where I hand out the two items being used (but not together). This is the block off rope routine. I give someone in the front row the rope and circulate the block around the audience (I have artwork on the block relative to the effect I'm performing). Audience control/management is the key to this. The more you perform the better you become.
Ray
Mentalism in Ontario.
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Dick Oslund Inner circle 8357 Posts |
Yes! Very well said, Ray!
In the rather casual situations in which we "knights of the tripe and keester" so often perform (especially busking!) audience control/management, is absolutely critical. I especially like your use of the term, TIME WASTER! My dear old friend, the late Don Lawton, was commenting on a magician's statement that he could "kill a lot of time" with a routine that he did. Don noted that, "We are not paid to KILL TIME, we are paid to FILL TIME! --with ENTERTAINMENT!" I haven't seen the "Blok Kord" performed in eons! Harold Sterling had a very practical, commercial, --and funny--routine with that prop. (Harold contributed his routine to "KID STUFF FIVE" (publ. Magic Inc.). I know! (I helped edit that book!) Blok Kord is a fine prop that can be presented anytime, anywhere, for almost anybody. Besides! There is nothing to "wind up, or wear out--and there are no batteries to buy! About ten years ago, Greg Bordner (Abbotts) combined the Blok Kord principle with the late Roy Shrimplin's "Uncanny Block" (I THINK that's the correct name). Roy did a version of the Obedient Block about 60 yeas ago, and got an extra effect with the same prop. I hope this bit of trivia doesn't "break" this thread!
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
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