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The Magic Cafe Forum Index » » Books, Pamphlets & Lecture Notes » » General book question... (0 Likes) Printer Friendly Version

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Profile of peterdgr8
Should the performance personality of an author be taken into account on a book buying decision?

Or should one merely buy a book that looks interesting and adapt effects to your own stage persona even though a large part of the success of executing a particular effect described in the book is very much integrated with the author's stage persona (that I may have seen on either DVD or YouTube clip) which I may not have?

I'd love to read some of your thoughts on this.
Mark Boody Illusionist
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Profile of Mark Boody Illusionist
I believe you should be buying a book for the info. it contains. Just like when you buy a magic trick, you adapt it to your style of performing. There is only 1 David Copperfield or Lance Burton, don't be a copycat, take those ideas & make them original to you.
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Profile of peterdgr8
Good answer. Thank you.
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Profile of rjthomp
If the performer has a very "strong" performing style, which doesn't match yours, I'd definitely take it into account. Much more of an issue with with DVDs than books though. And for people just starting out its a good idea to be exposed to as many different styles as possible...

Adam Wood
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No, the performance personality of an author shouldn't really be taken into account when buying books, just the information contained. I could never be as wacky as Tom Mullica or as serious as Phil Goldstein, but I love to do the tricks they've invented utilizing my own performance skills and personality. You can adapt most effects to your own performance style. Be you and you'll be original! Smile
“The hard must become habit. The habit must become easy. The easy must become beautiful.” -Doug Henning

"Don't make magic impossible, make impossible magic!" - Adam

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Profile of hbwolkov
I agree with the stated remarks. Writing ability does not usually correlate with performance style and ability. Purchasing decisions should be based on the merits of the book not on a performance of the author. Isn't wonderful when a talented performer is an exemplary author.
Northern California
Jeff Haas
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I think it's important to know what type of performer the book is about. Can you imagine trying to understand tricks by Tom Mullica or David Williamson or Eugene Burger if you'd never seen them perform?

Once you know what the performer is like, it makes it easier to adapt the material to yourself.
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Profile of nanowarrior
I read about a trick by Tamariz, which required the performer to have lost track of something in his pockets. Well, some performers have such a meticulous personality that they cannot pull this off: as they do it, it rings false to the audience. So you have to keep it into account I believe.
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Profile of markmiller
Good to be exposed to as many different styles and performers as possible when starting out because beginners rarely have established their own style yet. Also if you like a Tamariz effect that requires you to lose track of something, like the example above, and that doesn't fit you and you still want to do that effect. It will force you to be creative and develop a different plot point or handling which then makes the trick become more you.
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