On Sep 16, 2014, Stefmagic wrote:
Everybody told not to copy someone else but in business, the better and faster way to get successful is by modeling someone who had success before !!! You don't want to be someone else clone, but you have to find some models to help you shape what you'll become. With time, experience and maturity, you'll then shape your own personnality and performing style... But you must do modeling first.

On Sep 16, 2014, Martin Pulman wrote:
Comedy mentalism is, or should be, an oxymoron.

On Sep 16, 2014, Martin Pulman wrote:
Comedy mentalism is, or should be, an oxymoron.

On Sep 16, 2014, John C wrote:
Situational comedy works in most situations.

On Sep 16, 2014, NeilMcCauley wrote:
I don't think it matters very much whose drawing is seen first by the audience, as long as there is some tension/anticipation/build-up/intrigue to the process. In the example you linked to, the audience doesn't know if what Derren is drawing is correct and nor does the person who did the drawing (because he is facing the other way). When the original drawing is finally revealed, it's essentially the same thing as the mentalist showing his drawing a second or two later--as long as one comes after the other, there is tension. If both drawings were revealed at exactly the same time, it would take a moment for viewers to compare them and this would defuse the big pay off. It's much better, in my opinion, to set the 'target' in the audience's mind by first displaying your prediction/guess and only then confirming how close it is by revealing the drawing you were attempting to duplicate or predict.

I can't give any advice on making DDs funny, but I can say a couple of other things about them, having done dozens on strangers over just the last few weeks alone:

- Remember the apparent reality of the DD. If you apparently don't know what they have drawn, then you should probably be quite surprised when you see their drawing for the 'first time'. You don't need to shriek--you can be more understated. But I've seen a lot of performers barely bat an eyelid, and I think this is a sign to the audience that something isn't right.

- If you want people to believe that you didn't just see their drawing somehow and copy it, it's important not to duplicate it TOO perfectly. This is just my opinion, but there's a fine balance between getting it bang on and it seeming a bit too perfect, and intentionally getting it a bit wrong and actually hurting the reveal because people frown and question if it was just a coincidence. Being close to the drawing is tough, because we know what they have drawn and we can perfectly duplicate it--but the psychological impact of being very close but not exactly right is much stronger. Uri Geller used to do this. He'd draw an elephant from behind instead of from the front, which is what the volunteer drew.

- If you aren't actually sure how close your drawing will be (because you didn't get a good peek at their drawing using whatever method you used), then ask them to show it and as soon as you see it (and before you show your drawing), mentally plan what you will say about your drawing and why it isn't exactly the same as theirs. For instance, I've had people draw something very small, which meant I was duplicating something I didn't even know the identity of. I was just copying a vague shape. When I saw their actual drawing, I at first used to panic and think "Mine is nothing like that!". Now, I still think that, but I also immediately emphasize that there are billions of things in the world: "If I'm anywhere near in terms of the shape or form, then we've done it." Then I might put my thumb over the part of my drawing that isn't even in theirs, while pointing to a part that is in fact more accurate and giving a brief commentary. Generally though, people will either react or they won't. They will either think "Yes, that's the same, even if it's been psychically fuzzed," or "I see no similarities."

I suppose infusing humour into the routine can come from almost anything. To stick with Derren, check this out, which gets a lot of laughs: https://www.youtube.com/watch?v=JiHkGrp3S_8 It's not a DD, but the same type of thing could be done with one.

On Sep 16, 2014, IAIN wrote:
Forgot about other people's styles and presentations...

what is YOURS?

who are you? how do you behave? if you don't know that yet, have you at least any further ideas that might help us?

don't copy someone else's performance style as it'll come off as inauthentic...and at worst, "oh, he's like derren...derren's great" *starts big discussion about derren and forgets about watching YOU*...

its a difficult question to answer, but worthwhile...

On Sep 16, 2014, Magical Dimensions wrote:
I agree with Iain.

Performing in a funny style comes from you not by copying someone's else's act. Either you have a funny side or you don't.

What do you mean by average/common mentalism show? Who have you seen?

How do you perform you other mentalism? Is it funny or what?




Ray

On Sep 16, 2014, mastermindreader wrote:
I don't use "patter" and the script I use is original with me. In comedy mentalism, the mentalism is presented as a joke. I use comedy, but the effects and the revelations are always presented seriously.

The climax of a DD is when the performer's drawing is seen to match the participant's. THAT'S the applause moment and, IMO, it is stronger to show the participant's drawing first before revealing your own.

DON'T copy someone else's lines and script. In my books I've always emphasized the importance of writing your own presentations. I only included my actual presentations as EXAMPLES, but nonetheless I've seen several performers who have tried to do my act word for word. And, for the most part, they fall completely flat. Your presentation must fit your own stage persona.

I'd disagree that my version of 4DT plays "pretty well." Done correctly, it's a showstopper.