Scattered Dream I'm just curious how old are you?

For a cool step=by-step construction of a mentalism act - pick up Drew McAdam's book from ianroland.com... it is all about making things practical for the real world and make $$$$$

Ian rowland

You could also take a look at "Annemann's Complete One Man Mental and Psychic Routine," available at lybrary.com as an instant download for $3.50. Not that I would suggest doing the the act itself, but it will give you a sense of how a few simple effects can be routined to flow together into a logical, cohesive evening of mentalism. I have also heard that the book "Maximum Entertainment," by Ken Weber, is an excellent resource for putting together an act, though I have not read it myself. In any case, best of luck, and my apologies for being such a wise-ass in my earlier post.

Annemann link: http://tinyurl.com/a5e64

Sfarad, I have 16 years and adgnyc, your wise-ass comment was completly true about my act. I've realized that I must create the personality I want to portray in my performance and then base my effects around that. Entity and Quinn, your comments will be taken into much consideration while I develope my new and shorter act. I"m also going to look into Drew McAdam's book that Dr Spektor had suggested but does anyone know the link for it?

Here's an approach that may make life easy:

•What 3 effects in your list do YOU like to perform the best? String them together, and now, whenever you get the chance, do these three together. When they are comfortable and flow, try adding another effect to see if it fits. Maybe it will, use it. Maybe it won't, scrap it. Now, you've got probably a 20-30 minute act.

•Do this again, and you've got 2 sets of comfortable material, each set flows nicely within itself, and the two sets can be of different styles of effects. Now you've got 40-60 minutes.

•DONT try to have any certain kind of personality...it is more important that you allow any theatrical personality to evolve thru your performing experience, as a RESULT of your performing experience, rather than have a strange personality artificially attempted. The natural stage personality will come later, will be 'real' and I guarantee will be different and better than what you had in mind. Plus, that elimninates you having to be 'on' all the time (tedious for you, unbearable for your friends)

•Take your time, there's no rush to a goal, there's just being really good at the step you are now in.

•Remember, in Mentalism, shorter is better. MUCH better. It's the feeling of mystery that you want to linger in their minds.

•Some of the best stuff for spectators is the easy stuff for us...and some of the most advanced stuff for us is not necessarily the best for spectators. They'll tell you what they like about what you do.

•If you have a mentalist friend who can be objective, listen to him when he tells you that you flash, that movements need to be reworked, effects need to be juggled around...listen to that advice, try it, see the reactions, then make your own decisions.

•You have thousands of performances ahead of you. No rush to get there. Just be good at each step.

•Practice work on your presentations by saddling yourself with easy to do mentalism, such as in the Fulves self-working books. Make that stuff real, and you'll have the ability to make any of it real.

Welcome to the nuthouse.

Here is the link:

http://www.ianrowland.com/ForMagiOnly/FMOItemsToBuyMain.html

Hey, some of it is common sense - but there is a nice way described of forcing one to commit to doing only a few effects excellently, and how to package things for 60/40/20 mins and also settings etc...

I followed the link, but not sure what your recommendation is? I could not find a book by Drew McAdam!?

You need to come-up with a character for yourself and a theme (or themes) for your act. Lists of tricks will do no good. I suggests reading Absolute Magic by Derren Brown.

http://www.ianrowland.com/ForMagiOnly/MO......in1.html

Thanks for all of the help. I read a section over in Building Blocks and Luke actually had the word theme all capitalized. One of the things I needed to know, was right under my nose. Because of all of your guy's help my image on an act has change for the better and I have learned much from what you have taught me. Thank you once again
Joe

Hi Joe:In your initial post you say ACT.In some of your following posts you mention "Stage Act".I hope you are talking about a Stand-Up Act..because a Stage Act is whole other realm with many other elements to consider.I hope others here can follow up on this and advise you better then I can. Best.

Rich

I'm pretty sure that a stage act is what we've been talking about.

Well now I know what you were talking about.Not to discourage you,but I think very few Stage Mentalism performers went from performing some close-up directly to Stage.
Please experts,correct me if I am wrong,but isn't the logical progression to do stand-up first,and then evolve into stage.
I seem to remember a few British Mentalist's a short while ago learned a hard lesson regarding the difference between Stage and Stand-up.

Rich

If you can perform all those effects you are well on your way. Just perform them a bunch, over and over at eveny oportunity. Get used to seeing yourself on camera (a new thing for me even- why didn't I do this sooner?) And you'll be on your way.

Best of luck

Rather than asking "what effects should I do?"...ask "what MENTAL ABILITIES do I want to demonstrate to my auduience?"

Then look for ways to combine effects/material so you can create a routine that demonstrates that ability more than once. I call this creating a routine with "multiple moments of amazement".

Take telepathy: Ask "how can I combine what I know so I can demonstarte my ability to read thoughts more than once...in a way that fits together and makes sense?"

My books present 12 full routines from my corporate act that each focus on one mental ability...and each have multiple moments of amazement.

Visit: http://www.chuckhickok.com./tools.html

Use these routines as examples of how to build a routines with multiple moments of amazement

Chuck Hickok

You will find all the answers to this topic in Chuck Hickok's Mentalism Incorporated and Ken Weber's Maximum Entertainment.

Also see Tarbell Vol. 3 - Routining a Magic Show.

Besides's McAdams book - I do have MI 1 & 2 and Ken Weber's book - all must haves - I even got Bill Palmer's booklet on how to be professional in magic - you can't get enough of this materiale because it is really all in the "frame" of what you set up that your effects will come through as powerful as they can be

I've been way too focused on the effects and I'm definetly going to get Mentalism incorporated to help me with my dilema. By now I have a good idea on what kind of abilities I want to show and I have taken out many effects from my original list mostly because it didn't belong. I've read carefully each post and now I'll read Chuck Hickok's book. I'm not going to perform the act soon, because I feel I'm too young and plus I'm getting braces. I feel these things are a plus because I can have about a year to practise my act and then go out and perform it with a smile.

There is a great difference between performing a stand-up, parlor and stage act. The venue you perform at changes things greatly as well. Performing in a night club or a small theater (seating only 100 people) or a large theater are all very different from each other. Performing a theatrical show is also very different from performing at a large corporate event on stage.

There are very few mentalists that can perform well on stage before a large audience. I think what makes or breaks one performer from the next is understanding the very big differences in stage craft from venue to venue and audience to audience.

I have been working with a director on a new theater show of mine recently and it has been the most valuable thing for me. Without his direction I would be heading for a very big failure I believe. I suggest that anyone seeking to perform on stage should hire a good director that knows mentalism very well.

As far as progression is concerned I think that depends on the person. For instance, I have a friend that is an amazing stage performer, but at the same time is not all together a very competent close up or parlor performer. The reason for this I believe is due to his training in theater and the fact that his mentor worked with him on his stage act for about 6 months before he started performing it.

For me, I did close up for a few years with a few parlor type performances. I then stated opening at night clubs and then landed my own show at a night club for nearly two years. Most of my income now comes from performing a 45 min stage show for large corporate events and college shows. Rite now I am opening my own 2 hour theater show. That was my progression, but I did it with the great help of an experienced long time pro who I have now hired as my director.

I think the student / mentor relationship is something that is missing today with my generation. However, from my experience I don't see how someone could be a great success without one. Also, invest in a director and writer. It may cost some good money, but it is such a great investment and will be something not very many others do.

- Brandon Cross