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The Magic Cafe Forum Index » » Nothing up my sleeve... » » Plots in coin magic... (0 Likes) Printer Friendly Version

Nir Dahan
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Inner circle
Munich, Germany
1390 Posts

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Let's face it coin magic does not offer as many plots or premises as some other types of magic.
the coins either vanish, traspose, penetrate, travel, bend etc.
it is a fact that almost(!) all the recent DVDs/tapes on coin magic have just given elaborations on the old premises - some of which are amazingly magical and beautiful, but still, the originality is not in the plot itself.

my question is what is your most original piece of magic with coins? the one thing that is different...

N.
TheGreatDane
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Regular user
White Plains, NY
183 Posts

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My favorite, and I think most original (even though its not mine) is Rubinstein's Twilight Zone Wild Coin routine. He teaches it on Knockout Coin Magic. And, having spoken with him several times (hes my cousin, literally), he says its one of his favorite routines. To do it a GREAT injustice it's a multiple-coin spellbound routine with a kicker reverse ending. However, its handling is pure genius, and some of the inherent psychology is amazing. It also leaves a ton of room for presentation. I recently had to make up a fairy tale for class, and being completely unprepared, I ran back to my room, grabbed the coins and a cup, and made it up on the spot. It floored them. I HIGHLY reccomend it.
"I know nothing with any certainty, but the sight of stars makes me dream." ~Vincent Van Gogh
Jonathan Townsend
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Eternal Order
Ossining, NY
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Nir, MOST of what I do is 'different'.

One can get more magical effects when using coins as an 'example' as opposed to the focus in a routine.
...to all the coins I've dropped here
Mike Powers
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Midwest
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Hi Jon,

Could you elaborate on what you mean in the previous post?? It's not clear to me.

Thanks!

Mike
Nir Dahan
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Munich, Germany
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I would also be interested in examples if you don't mind.
Jonathan Townsend
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Ossining, NY
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For example; I saw the Kaps copper - silver handling and thought the hand positions looked like the ships during the Apollo-Soyuz mission where the ships docked. Hence the presentation is about ships and astronauts.

Another example, I often forget where I put things in my pockets or on the table. That perception of things being somewhere->then elsewhere reminded me of the passage in 'Alice' where she is in a shop and things are moving around on the shelves. One thing in particular evades here vision and even passes through the ceiling. Hence my take on the coins across.

There is a routine I've wanted to put into regular use using a small plexiglass pyramid. It's about that idea that got popular in the 70's called 'pyramid power'. My thought is that the pyramid takes whatever is inside back in time. That would explain the sharpening razor blades and the belief that people inside could be resurected. A coin under the thing goes back in time 1 year, 200 years, then 2000 years and then (not going to spoil finale).

Hope this helps -Jonathan
...to all the coins I've dropped here
Paul Chosse
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1955 - 2010
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I would be interested to hear what your definitions of "plot" are. Mr. Dihan asks about plot, but then illustrates by listing effects (vanish, transpose, penetrate, travel, bend, etc.). Jon clearly is talking about taking standard effects (coins across) and applying new plots (story lines) to them. Let's be sure we are all using the same terminology before we continue. Define your terms, please...

Best, PSC
"You can't steal a gift..." Dizzy Gillespie
Jonathan Townsend
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THE standard effect is people get older. The desired effect is people get entertained.
...to all the coins I've dropped here
KirkG
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Many times while watching some routines people get older instead of entertained.
Jonathan Townsend
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Are there any routines in particular that take years off people's lives? Such might make a more economical punishment than our current penetentiary system.

...and for agrivated assult you are herby sentenced to attend not less than five performances of...
...to all the coins I've dropped here
Dan LeFay
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Holland
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I don't know about routines. But I DO know seeing some magicians take years of my life...
"Things need not have happened to be true.
Tales and dreams are the shadow-truths,
that will endure when mere facts are dust and ashes,
and forgot."
Neil Gaiman
Curtis Kam
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same as you, plus 3 and enough to make
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All I know is that in most plots, the butler did it.
Is THAT a PALMS OF STEEL 5 Banner I see? YARRRRGH! Please visit The Magic Bakery
Paul Chosse
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1955 - 2010
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Well, the plot here seems to be: the thread starts with a purportedly serious question (clever diversion), protagonists are drawn, like moths to a flame, into the fray, the magicians reveal thier true agenda, a frightening secret desire to enter the comedy arena, bare thier arses for the world, and then...

The suspense is killing me, what happens next?

Best, PSC
"You can't steal a gift..." Dizzy Gillespie
Curtis Kam
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same as you, plus 3 and enough to make
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Sorry Uncle Paul might be right, this thread is seemingly doomed to suffer a familiar fate. However, I think there is a reluctance to take the subject seriously , since the inital question seems to be a sequel.

I'll not conduct the search, but I think someone runs one of these "all the good coin plots are used up, so let's all go home" thread every couple of months.

Still, I suppose this is one question that one could ask again. After all, no matter what we said a few months ago, maybe NOW all the coin ideas have been used up.

With that in mind, I'll suggest that Nir is unduly concerned over the supposed demise of coin magic, but in that, he's in good company. Larry Jennings once explained his lack of interest in coin magic saying, "the coin's either here, or it's not, and that's about it". What really hurts is that Mr. Jennings pioneered a lot of today's modern coin techniques.

Let's approach the question the way Nir posed it: What effects do you consider to be 1) yours and 2) different? (let's not get into "original" just yet)

um....

Audio coins through table: Following a performance of coins thru table, the performer offers to reveal to the audience just how odd the experience is for the coins. He places a contact microphone onthe table top, hooked up to a speaker. Now, each time he sends a coin into the table, the audience hears a wee voice enjoying, apparently, a roller coaster ride. This is done three times. Performer reaches under the table to get the coins, but they're not there. He thumps the table, and the audience hears three littel voices laughing, and sees the sight of three little lumps moving through the cable leading to the speaker. One at at time, the coins pop out of the speaker, onto the table. Tag line from the coins "Again! Again!"

See P Chosse's "Portable Hole" presentation for coins thru the table. Better yet, forget I mentioned it.

Magician's facial orifices suddenly spout coins, creating the illusion of a "human slot machine" hitting a grand jackpot. Name that tune.

The reflection of a coin becomes real. See Paul Harris' "Twilight" or Roth's "The Sleeve".

Okay, I admit that the last three are not mine. But the plots are certainly "different".

Approaching the question from the opposite direction, note that even the basic plots present new challanges that have yet to be met satisfactorily:

A single coin, held by the spectator vanishes from her clenched fist.

A single coin, held by the spectator, visibly fades from (or into) view.

A single coin, held by the magician slowly fades into or out of view without excessive hand waving.

A coin is vanished and appears anywhere in the room designated by the spectators.

A coin vanishes, but its reflection does not. The image remains visible in the mirror in spite of the absence of the coin.

And the beat goes on. Note the basic effects are still the familiar appearance and disappearance LJ lamented, but the variations of conditions and results produce new plots. The mistake is in misinterpreting the implications of the analysis. At the same level of abstraction, most of card magic can be summarized as, as Jay Sankey once put it, "the rearrangement of pasteboard". i.e. "the cards are mixed, the cards aren't mixed."

Search yourself for new plots. Failing that, search the Café. There is a thread somewhere where I have discussed mentalism with coins. That's a rich and untapped field. I believe the "coins through the table" thread has been fruitful, and the "cylinder and coins" thread has taken some interesting turns.

Speaking of the last effect, consider this: International C&C. The coins are vanished in the order suggested by the audience, and are revealed to have appeared under the cork in the same order. Want a better idea? Never mind the coins, use four little objects. They vanish and appear in the cylinder, making a little "totem pole" in the order designated by the audience.

Anyone can come up with this stuff. Dare to Dream.
Is THAT a PALMS OF STEEL 5 Banner I see? YARRRRGH! Please visit The Magic Bakery
Chris Berry
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I once made a list here of all the coin plots I could come up with. Mr. PSC is correct. It started serious then gotchanged quickly. While there were a few serious posts into it every now and thenit died rather quickly.


Chris
Jonathan Townsend
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Ossining, NY
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The issue remains to seperate PLOT from EFFECT from PRESENTATION.

It helps to have language to distinguish these aspects of performance.

Otherwise we may as well define presentation as what the spectators do while you bury an effect in a plot.

And yes, I know what a dunce cap is. Do you? Really?
...to all the coins I've dropped here
mystre71
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martinsburg west virginia
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RE:A coin is vanished and appears anywhere in the room designated by the spectators.

Curtis I think given the right setting this could be done. Two possible solutions follow.

One if the spectators THINK that their designated choice was free.

Two useing a subliminal type of force (Better have an out just in case Smile ) Check out Christian Chelman's Capricornian Tales.

Joe
Walk around coin box work check it out here https://www.magicalmystries.com/products
sleightly
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New Hampshire
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In my Shared Experience lecture I talk about the theatrical structure of a magical performance. I differentiate between the magical plot (the barebones details of a magical effect) and the dramatic plot (the presentational framework often used to make the magical plot compelling to audiences).

The distinction is an important one. One can occur without the other, but it takes both combined with character to make a magic trick of interest to someone other than a magical enthusiast...

ajp
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