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Waters Inner circle 2508 Posts |
Thanks for the kind words, Abraxus.
I think the point is that the people we perform for, do not care about how new or ingenious the method it. As Bernstein stated it, "Perception is Everything". That could not be more true. If a "novel" technique helps the perception then, by all means, find a way to incorporate it. However, novelty for novelty's sake is child's play. I am not a full-time professional performer, nor will I ever be (likely). I have other interests and endeavors that take up time and effort. That is my "path"! I have absolute respect for you, my friends and colleagues, who do so. Hats off! For me, Ken Weber's thoughts about originality are perfect. Honestly, the people I perform for are typically small groups (social, religious or business) of about 20-100. They don't know Derren, Ian or Andy (bless 'em), nor would they care. They don't care if I am using methods as old as time or whether I am availing myself of electronic helps. All they care about is having a good time and being entertained.... that is all that matters. Period! I study because I like to. I buy books because I truly love to learn (always have). It also gives one a wider resource of ideas, with which to mentally draw. In other words, the deeper well has more (creative) water. Alain Nu talked about this in "Nu Secrets and Realities". I agree. That being said, if a person chooses five routines from a book from 1912, but performs them with enthusiasm and charisma; they are lacking nothing. The best performer may be some person somewhere who may be doing one effect, though mustering every drop of entertainment. That could be enough for a lifetime. Sometimes I envy the "zen-like" simplicity. Sean |
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Blackwood Special user Mind-Play 528 Posts |
Some of the great entertainers of the past had only ONE basic act that they polished smooth as glass and lived on for years. It is said that the great ventriloquist Senor Wences had an act that was 19 minutes exactly, with an exact two-minute encore. He used it for more than 50 years – with great success. I believe Cardini's incredible manipulation act was just this length, too. All these acts were timed and perfected in the daily grind of vaudeville and music hall.
Of course, no telling how much material each KNEW – but they performed only a small sampling of their strongest material. (Sigh. And still I fall for all the hype of the newest toy or book.) (Sean's "Ponderings" is one that I AM glad I bought. Smart thinking!) BB |
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KARCH Regular user 113 Posts |
I guess I am the exception to the rule. Early in my career I was always looking for something better than what I was doing. As I found new itemw, each would replace a weaker effect. This finally evolved into a much stronger act that was totally different from what I started with. At some point, I invented a new effect that is now the cornerstone of every show. It is now my beginning effect for every show which sets the mood and is the convincer for what follows. Being my own effect, this makes me unique. But even today, I still acquire new items just for the sake of variety or curiosity. My search for the Holy Grail of mentalism continues and makes me a better performer. It is all very well and good to do a solid act, but who knows how much better you could be if you continue to push the envelope. For example, Jim Carey was a brilliant stand- up comic who only did impressions at first. He intentionally junked his act and came up with fresh material that was even better.
In this age of mass media, one appearance on national TV gives your act away. Cruise ships on the other hand are the new vaudeville since you can do the same act each week for a new audience. Just some random thoughts to consider. |
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kriskraze Special user 620 Posts |
Seems it's ok to be a secret hunter if you've got the money to spend.
I think reading too much can make for a stale performance, and stale imagination - not to mention unoriginal effects. Interestingly, I encourage people to learn as much as they can. I'm more of a subscriber to the 'each one, teach one' philosophy, but when that's not possible by all means buy the information. I think the important thing is that you don't just educate yourself by absorption. Reading a library of effects won't make you a better mentalist. I really believe, that performing an effect is the only true way to gather the benefit from the knowledge of it. Hopefully this benefit is used in an artistic manner, rather than just performing the purchased product. I think the most important thing when considering you're 'education' is using the effects as 'case studies,' much like a business student studies a company. A decent effect is the tale of success in an ever changing world. If you want to conquer the world, you need to study hard, from varied sources, then put it all together with your own research and a little luck. If you think of your 'education' in this fashion then I"m sure you can go far as an artist. Otherwise, you can use those 'case studies' to conquer your local market - being one of the best 'entertainers' in your city. |
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