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Martin Pulman
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Inner circle
London
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I think the 3 effects suggestion is a very good one indeed. Chan Canasta had an extremely limited repertoire of effects but he had mastered them to such a degree he was free to jazz with them.

I would recommend that someone starting out in mentalism could try something like:
Ultra Mental Deck
Free Will (with specs objects)
Positive Negative.

That way he/she would be able to focus more fully on presentation without worrying about nerve-wracking sleights or complex routines (that is not to say the above effects should not be practiced intensively before presentation-I have seen many an ID effect ruined by the vice-like grip of the performer on the cards!). At the same time they would getting a grounding in e*******e, calculating in their head(on the fly)and v****l s*****t of h**d. All skills that will pay huge dividends going forward.

Only after mastering something like the above effects would I move to CT's, billet work etc. I think relaxation and confidence are hugely importance to a performer and they are fickle mistresses who can easily turn their heels and escape from you if you o'erreach yourself too soon!
IAIN
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Eternal Order
england
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Personally, I wouldnt have said chan canasta had a limited repetoire of effects, he had his own live tv show, so he wouldn't have repeated much - and his guest spots, the film, and so on...
I've asked to be banned
Mark_Chandaue
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As has already been said I would learn to do a few effects well, ideally ones that flow as a little mini act and then find as many opportunities as possible to perform them to strangers. Friends and family are not the ideal audience, they know you too well and have too many preconceptions about you. They will generally be overly kind or more inclined to watch you like a hawk knowing its a trick. Strangers have no preconceptions and will judge your performance purely on its merits. You will also learn far more about audience management by performing to complete strangers.

Mark
Mark Chandaue A.I.M.C.
Harpacrown is available from
http://www.harpacrown.co.uk
Harpacrown Too is available from
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Ophiuchus is available from
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Totally Free Will is available from
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seamagu
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Guys, even though this is sound advice, I'm not sure any of us with a passion for mentalism could be content with just a few effects. By all means have those few that you can do well and can use to build confidence.
I'm sure its the same for everyone here, I simply can't consume enough knowledge on the subject of mentalism. I think what the Op is asking is how he can avoid wasting time on reading rubbish which is something that still happens. My advice is to read Craig Brownings essay on becoming a mentalist if you want some direction on what material to purchase. I think it is in a post somewhere here. It is an excellent list of high quality learning material.

Hope that helps and that I haven't offended anyone.

Best regards,
Sea
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seamagu
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Guys, even though this is sound advice, I'm not sure any of us with a passion for mentalism could be content with just a few effects. By all means have those few that you can do well and can use to build confidence.
I'm sure its the same for everyone here, I simply can't consume enough knowledge on the subject of mentalism. I think what the Op is asking is how he can avoid wasting time on reading rubbish which is something that still happens. My advice is to read Craig Brownings essay on becoming a mentalist if you want some direction on what material to purchase. I think it is in a post somewhere here. It is an excellent list of high quality learning material.

Hope that helps and that I haven't offended anyone.

Best regards,
Sea
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Martin Pulman
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No offence taken Sea, but I don't think anyone is suggesting learning three effects to the exclusion of all others. Just to combine one's reading material with practical work in the field. In my opinion one makes better progress by repeating and honing a limited repertoire of effects rather than flitting from effect to effect, none of which you really master. I think repetition is vital in any art form. I remember reading an article that claimed repetition as one of the key components of genius!

Also, I think nowadays we have a glut of information and there is a danger that so much is at our fingertips we don't take the time to re-read and re-study material already in our possession.

Just my two cents, and I'm sure many wiser men and women will disagree with me.
TripleM
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Firstly, I am overwhelmed by the number of constructive responses! I feel I have learned a bunch of valuable points already! this is fantastic there is nothing I love more than constructive criticism, so thank you to all who have inputed their thoughts and views!
TripleM
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Quote:
On 2013-08-26 06:12, seamagu wrote:
Hi triplem, I still consider myself a newbie after a few years. There are some books that I found really helped at the early stages. Switch craft is a must. I was reading it the other day and am still learning from it. Apart from that I would just go with what takes your fancy, enjoy the ride and read lots of reviews before purchasing. Also check out lybrary.com I got lots of my books there.

Best regards,

Sea


yes I very much will Smile thank you for your positive post ! and also thanks for the new web link - handy
TripleM
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Quote:
On 2013-08-26 16:33, Mark_Chandaue wrote:
As has already been said I would learn to do a few effects well, ideally ones that flow as a little mini act and then find as many opportunities as possible to perform them to strangers. Friends and family are not the ideal audience, they know you too well and have too many preconceptions about you. They will generally be overly kind or more inclined to watch you like a hawk knowing its a trick. Strangers have no preconceptions and will judge your performance purely on its merits. You will also learn far more about audience management by performing to complete strangers.

Mark


yes I have found that to be the case when performing to family they are just waiting for you to mess up haha that's why I wanted to preform outside but I have now learned that the street isn't the best place to start which is a fair play! I need to be looking for indoor on stage preformaces...this will be hard for my circumstance...but I will see
TripleM
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Quote:
On 2013-08-25 16:42, LCervier wrote:
I, for one, agree with Bob on that. I almost wrote something like that in my post above. But I would like to explaint a bit more precisely that, I don't think the problem is with the surroundings (street, restaurant, etc.) but with the fact you go towards people, instead of having people come to you.
I con't see a mind reader walking to someone "hey, want to experience something cool?" :-(
But if people walk to you and _they_ ask for something, than it's different. For instance, if you're on a bench in a public park doing a reading and someone comes to you and engages conversation, then it's not "street mentalism" (yerk!) but mentalism. Or could be.
There's the same difference between "street magic", and "doing magic in the street", if you see what I meean.
If you don't see what I mean, it's normal: it's not crystal-clear for me either ;-)


yes I do see where you and Bob are coming from...see I never thought of that because I have watched a few street mentalists and naturally I figured ...well its a good place to start haha you and bob have clarified otherwise! but I fully respect and understand thank you for teaching me a valuable lesson! hmmm ...i need to think about my next moves now .
TripleM
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Quote:
On 2013-08-26 13:27, DonEduardo wrote:
I like that advice of getting three effects down pat, and improving upon them each time you perform. But getting those three effects is not easy. I've found that any stand-alone technique is seen through by the spectator (at least in my case). I had to collect many techniques and figure out how best I could layer them. Some effects are purely logical, and the most logical spectators figure them out. But if a little sleight of hand is introduced at some point, the logical ones get all caught up. The ones that are always looking for the sleight of hand can get caught up in other ways. So, yeah, limit the number of effects, but in my (very limited) experience multiple techniques need to be utilized to keep them off balance.


that's great clear and direct advice right there! thanks il note this down - much appreciated!
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