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magicfish Inner circle 7016 Posts 
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Herr Brian wrote,
think it's too easy for people to assume that when you covered X and it did Y, that you must have done something while it was covered. But if you do it visually, you leave them no place to go. That's the difference between seeing it as a puzzle or magic. I want them to go home and lose sleep over what happened, not rest peacefully knowing I simply have fast hands or must have switched it under the cloth, or just used a gambler's move to get the right card. " I completely disagree. I |
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Herr Brian Tabor Special user Oklahoma City 729 Posts
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Quote:
On 2013-07-30 17:42, Count Lustig wrote: You don't seem to understand I was simply playing the devil's advocate, to make a point. Both visual and non visual magic can be attributed to either "fast hands" or "magic". You're thinking like a magician, not a laymen. Laymen think differently than we do. If you want your audiences to think you have fast hands, you can convey that in your patter and character. If you want them to think it was magic, then the same applies. If you're audience is watching an effect and are thinking "how's he/she doing that?" then you aren't doing your job. Get in their heads, eliminate possibilities before they can think of them, and make sure the KNOW it's impossible. Then, do the impossible. This is a matter of patter and strengthening your routines, and applying psychology and an audience's perspective of what you're doing. It doesn't matter if it's "visual" or not, as long as it's logical, and in their minds, impossible. |
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David Fillary Special user 662 Posts
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Crazy Man's Handcuffs is purely visual, but gets brilliant reactions. However, this also has the advantage that the move happens before the effect, giving the appearance of an absence of moves. When the move is done simultaneously, the audience can usually sense that a move has taken place, making them wonder what the secret move is. I think perhaps in addition to all the patter considerations mentioned above, you also need to have really mastered the moves. Most people do a colour change with an awkward arthritic hand gesture, but if it was done in such a way where your hand merely passed over it, or you blew on it, and no other movements were observed, then I think it would appear very magical.
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Jiceh Special user France 742 Posts
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Quote:
On 2013-08-01 22:17, Woody Aragon wrote: It's a very special example of visual magic because it's about animation The choise ofv the card and even more the "choice" of where the card will be found is the "conceptual part". In reality the concepual part is in the spectator mind when they figure what the effect is efore it happens. just after tis clip, I watched an other one by you (just for my pleasure) : the one with the bees where there is a problem with the music track. so you sang ... and it was great |
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Jiceh Special user France 742 Posts
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On 2013-08-02 03:54, Herr Brian Tabor wrote: Logical and impossible in their minds : this is not sufficient IMHO because these 2 criterions can lead to puzzle What can you add to transform a puzzle in magic (or even more interesting to avoid the puzzle aspect)? |
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Herr Brian Tabor Special user Oklahoma City 729 Posts
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On 2013-08-02 04:48, Jiceh wrote: This question is good, but would take an entire book to answer sufficiently. (at least for me). The short of it is again, in the presentation of the character, patter, and so on. |
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InstantMagicBen.jpg "View Profile") New user 83 Posts
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If I had real magic powers, I would pick up a coin and rip it in two, or take a deck of cards and make it vanish into thin air, not ask someone to think of a work, and reveal I have already written down that word!
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Jiceh Special user France 742 Posts
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On 2013-08-03 16:03, InstantMagicBen wrote: If I had real magic powers, I xould pick a coin and rip it in 2, but I will not take a deck and make it vanish unless you have a really good reason to do such a thing. |
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Posted: Aug 2, 2013 02:55 am 
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