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Lawrence O Inner circle French Riviera 6811 Posts |
Magicalaurie,
Naturally what you think and quote is essential. Now it's fairly theoretical. Any learned psychologist like Jonathan would tell you that the best way to think of an elephant is to mentally tell yourself "don't think of an elephant". Thus even if your advice is 100% valid, we must supply the ones who think of the elephant ways to avoid "convey some degree of uncertainty". Ascanio's approach to do a main action announced by a glance and rendered possible only by the In Transit, secondary (false) transfer takes the focus away from the simulation and, as such, is of a nature to avoid the performer "thinking about the elephant" and even to "not think about the elephant". Such a performer would feel even more confident in his certainty that he knows that he is about to perform an Obliteration parenthesis and that a Funsway type of preventive canceling out will kill any audience suspicion that he may otherwise fear. Confidence in a procedure generates certainty. We are basically saying the same thing but you rightfully highlight the principles when I try to collect and supply "how to" alternatives for a performer to "his behavior, his attitude, every subtle nuance..."
Magic is the art of emotionally sharing live impossible situations
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magicalaurie Inner circle Ontario, Canada 2962 Posts |
I don't think we are saying the same thing, Etienne. If the character's objective is to perform an obliteration parenthesis, and a funsway type of preventive cancelling out, I think he's more a mechanic than a magician. Or the performer's not out of practice sessions yet.
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tomsk192 Inner circle 3894 Posts |
Al Schneider does a good ROV vanish. You can watch him do it, too. The proof of the pudding, and all that...
As I recall, he spends quite a lot of time practicing actually putting the object in the hand, so to speak. Etienne is right, I believe, about confidence. I daresay Al would agree too. Watching Tommy Wonder, for example, is an object lesson in confident deception: self belief writ large, with excellent technique. |
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J-Mac Inner circle Ridley Park, PA 5338 Posts |
Quote:
On 2013-11-19 15:31, Jiceh wrote: Possibly this one? http://www.themagiccafe.com/forums/searc......=6584402 Jim |
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Jiceh Special user France 742 Posts |
Quote:
On 2013-11-19 23:52, J-Mac wrote: I don't think it was this one (but this small list is good too). |
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Jiceh Special user France 742 Posts |
Quote:
On 2013-11-19 22:28, magicalaurie wrote: I disagree You have to know about technique. Thus, your technique is not an obstacle to your presentation. It becomes a necessary tool. Without a good "technical knowing", a painter is often disappointing. Its shortcomings diminish the quality of his works. |
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cperkins Special user 700 Posts |
No no, Lawrence's descriptions and examples of some motivated actions for a transfer was in another thread - perhaps 6 months ago. I can't remember the topic of the thread.
Lawrence O where are you??????
To see a difficult thing lightly handled gives the impression of the impossible.
(Goethe) |
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magicalaurie Inner circle Ontario, Canada 2962 Posts |
Jiceh, I'm talking about performance. Of course you must know about technique. Technique should be well in place before the performer takes it to performance is what I'm saying. In performance, the performer's thoughts must shift to those of the character. Otherwise, the performer seriously risks indicating directly to the audience the mechanics of the effect rather than the illusion he should be presenting.
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Jonathan Townsend Eternal Order Ossining, NY 27297 Posts |
Please don't go down the rabbit hole of system/method in performance. It might be useful and efficient in rehearsal.
The concerns of the performer, especially when before an audience, are far from the fantasy intended for the audience, IMHO.
...to all the coins I've dropped here
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magicalaurie Inner circle Ontario, Canada 2962 Posts |
One can go too far in the other direction, Jon, is what I'm saying. And that's what I've been saying all along. So you can pluck someone from that rabbit hole, if you will.
dual consciousness |
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Jiceh Special user France 742 Posts |
Quote:
On 2013-11-20 13:28, magicalaurie wrote: Magicalaurie, I was talking about performance too. Obviously, you don't have to think about technique while the performance. Even a painter "forgets" his technique while painting... In fact, the better your technical knowledge, the easier it is to forget during the performance. |
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magicalaurie Inner circle Ontario, Canada 2962 Posts |
"What is the possible relationship between these parts of your consciousness during performance? Does this relationship remain constant? No. The term divided consciousness, or co-consciousness, does not mean that you have two or more impulses or thoughts of equal force or weight pulling against each other simultaneously. That would cause stasis- the inability to act.... An actor never wants to live permanently as a totally self-conscious student driver with a learner's permit, because there, the observer-self becomes the totally intrusive critical voice, commenting on, or even inhibiting the participant-self's (the character's) proposed behavior.... As Roach interprets this behavior, the actor has not yet released into the character.... As he repeats himself in rehearsals and exercises, however, testing the pulses of his imagination, probing his physical and mental limits, these hesitancies tend to fall away one by one; his assurance generates energy, until he seems more thoroughly alive than ever before. The paradox is evident: the actor's spontaneous vitality seems to depend on the extent to which his actions and thoughts have been automatized, made second nature."
Thankyou, Jiceh. I was under the impression Etienne was talking about performance, too, see, when he said: Quote:
Such a performer would feel even more confident in his certainty that he knows that he is about to perform an Obliteration parenthesis and that a Funsway type of preventive canceling out will kill any audience suspicion that he may otherwise fear. In which case he was advising a performer to think about technique during a performance, and you're actually in agreement with me, Jiceh. |
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Jonathan Townsend Eternal Order Ossining, NY 27297 Posts |
Lots of words and ideas flying ...
How about this: design each moment from audience perspective Perform in backstage perspective does that work you you?
...to all the coins I've dropped here
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Jiceh Special user France 742 Posts |
Magicalaurie
I don't think that Lawrence O was advising a performer to think about technique during a performance... I have the impression that Lawrence O rather told us that if a performer is aware of the power of some tools (Obliteration parenthesis ...), it can help him to give a better performance. Maybe because the "tools" reassure the performer. Knowing his own power, a performer can only be a better one... The real answer (interpretation of "Such a performer would feel even more confident in his certainty that he knows that he is about to perform an Obliteration parenthesis and that a Funsway type of preventive canceling out will kill any audience suspicion that he may otherwise fear") will be given by Lawrence O. |
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Jiceh Special user France 742 Posts |
Quote:
On 2013-11-20 15:21, Jonathan Townsend wrote: What do you mean when saying "Perform in backstage perspective"? |
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Jonathan Townsend Eternal Order Ossining, NY 27297 Posts |
What I mean is
Look where you are supposed to according to the script, get the lines out per the script, ... do the show and keep a watch, as if from the side of the stage in a theater, for moments when some useful bit of business that's not fixed into the script - be it an audience moment or some out for a technical failure, is needed to move the show along.
...to all the coins I've dropped here
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magicalaurie Inner circle Ontario, Canada 2962 Posts |
Quote:
On 2013-11-20 15:21, Jiceh wrote: Thanks for your reply, Jiceh. I thought later that the interpretation you give may have been Etienne's intent. Very good point, and one I agree with. If that's what Etienne meant, then we three agree. I think Jon's possibly on board, too. |
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Jiceh Special user France 742 Posts |
Because I like "sequences" :
Something I found in my notes (I have a lot of notes but they are not well classified) : 1 - Begin with a coin at the left fingertip (as in a 3fly effect) 2 - Look at the coin 3 - Look at the spectator 4 - Look at the coin and shake the left hand (about 2 seconds) and stop 5 - While looking at the spectator, put the coin in the right hand (right fingertip but a little in the hand : the spectator can see only a small portion of the coin) 6 - Look at the coin (only a small portion is visible for the spectator) and shake the right hand (about 2 seconds). 7 - Look at the spectator and immediatly do a retention pass in the left hand whitout closing it 8 - Look at the left hand and immediatly shake the left hand (about 2 seconds) and stop 9 - Look at the coin and pause (the left hand is in "3fly" position whitout a coin at the fingertip of course) 10 - Glance brievvly at the spectator 11 - Look at the left hand again (the left hand is still) 12 - "open" or spread quickly the left fingers. At this point the left arm don't move but the body goes back just a little to underlign the surprise Important : there is no pause between the phases 7 and 8. As soon as the left hand "receives" the "coin", ypu shake the left hand and the right hand relaxes. I used a small patter about curious thing that happens during an earthquake (excuse for shaking the hand) What do you think of this sequence? What is goog (or bad) in it? |
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Jiceh Special user France 742 Posts |
Quote:
On 2013-11-20 15:47, Jonathan Townsend wrote: Isn't it something we do unconsciously during a performance? We are able to review our own performance even if a video of the "act" is a better way to do it... |
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Jonathan Townsend Eternal Order Ossining, NY 27297 Posts |
Jiceh, that's called blocking, the physical actions in a play. What motivates those actions? What's the story as narrated by someone telling a friend on the phone what is happening in the show as they are watching.
He's got this shiny silver coin. He's squeezing the coin No he's not getting getting any juice from the coin. Oh now the coin is gone. ...
...to all the coins I've dropped here
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