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The Magic Cafe Forum Index » » The words we use » » Writing a show - where to start? (21 Likes) Printer Friendly Version

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friend2cptsolo
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Spent all this time on the Cafe' and all I have to show for it is
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Quote:
On Aug 1, 2016, Pop Haydn wrote:
Quote:
On Mar 9, 2016, griffindance wrote:

Acts of the caliber of Pop Haydn are the minimum level to expect of a performer.


Really? Smile I'm glad after 50 years I've made it to the minimum level... [/quote]

Yeah, at a minimum you have to reach up to this level!!!!
Dear Pop, While your shows and style represent a great goal for all performers to look up and try to reach, I would hope that other magician still get out and perform to the best of their abilities.I think the above post was just a mismanagement of wording. You are definitely at the upper level of performance quality and not minimal.
Coolmanclyde
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To the OP: Jim Mullen has some GREAT advice for show routining guide. I also found Dan Harlans Tarbell 34 "routining a show" very helpful too. It also comes with his notes and worksheets.
Pop Haydn
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These are my notes on Creating the Magic Routine and Acting and Magic:

http://www.popsmagic.com/store/p65/Creat......oad.html

http://www.popsmagic.com/store/p66/On_Ac......oad.html
Big Daddy Cool
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Quote:
On Aug 1, 2016, Pop Haydn wrote:
Quote:
On Mar 9, 2016, griffindance wrote:

Acts of the caliber of Pop Haydn are the minimum level to expect of a performer.


Really? Smile I'm glad after 50 years I've made it to the minimum level...

I maintain that one should create the character and backstory around the magic effects that appeal most to you. Change the character as needed to support the magic. Magic is not a special effect or mere transitional device. Magic does not support your character, your character supports the magic. If you are doing magic and not theater, the magic has to come first. Theater and story are only there to support strong magic. They are not central as in normal theater.

This isn't a rule. It is just a viewpoint. In my work, the magic is always central, and the character, costume, and backstory can be changed to suit whatever magic I want to perform. That is largely how my character was created--I kept changing the character and story to accommodate the effects I wanted to present. He was originally just a gambler. I kept adding to his story as I kept introducing effects I wanted to do. Why would a gambler do the Linking Rings? Why would a Western gambler wear a turban and read crystal balls? Why would a gambler have a teleportation device and a Tesla Coil?

Finally, magic is not about "telling" a story. It is about enacting a story that involves the audience as characters in the story. The story is what happens to them in the show--what they witnessed at the event. The audience members are all witnesses to the events in the story, and some are actual participants. It is like the magician is the lead actor and the audience and volunteers are co-actors, following his lead. The "story" is the story of the experience--what they will say they saw afterwards.


Hmmmm... Interesting take. Until recently we would have been in disagreement, but the more I've been working at the House of Cards (Magic Castle lite) the more I've gravitated to this idea. I am basically now performing two completely different shows:
1) Magic that is the story or supported by my backstory
2) a true narrative theater show that features very little magic and that is used specifically to reveal character of solve a problem in the story.

At one time I would have said only #2 was acceptable, but as I perform more in non theater venues I am forced to develop or revise material that is not reliant on a narrative story.
Swing hard, swing often, and we'll catch ya on the Flip-Side!
John Pyka
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Big Daddy Cool
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By the way, if anyone is interested in a narrative show, I'm your guru. Smile
Swing hard, swing often, and we'll catch ya on the Flip-Side!
John Pyka
www.johnpyka.com
Montana76
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I hope I one day reach
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How come?
Pop Haydn
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Quote:
On Mar 3, 2016, griffindance wrote:

There are the magicians out there (some I suspect are regular visitors to this page!)who can engage the audience at a deeper level than "some magician who did this trick that was really cool..." but most of our work is in 5min (one trick- one story) 15mins(2/3 tricks - 2/3 stories) or 20-30mins (3/5 tricks...) slots. What I want to see is appreciation of the magical arts that allows for the development of longer, full evening shows that arent basic revue style series' of un-connected presentations, but are complete journeys unto themselves. I want to be able to speak to non-magicians and hear them talk about seeing the productions of different named magicians, not as it usually is today, having seen "some magician who did this trick..."

A good storyteller becomes the coyote. For conceptual proof of this think about the connection between these stories "Die Hard," "Moonlighting," "Death Becomes Her," "The Sixth Sense," "Unbreakable"... Now you know the connection think about how one storyteller transcends all of these stories.




The Coyote is a Trickster character that people have long told stories about to their children. You can't "become" the Coyote by telling a story. You become the Coyote by tricking your audience, by actually becoming the Trickster. When you trick them in an amazing way, they will tell stories about meeting YOU and about what you did, not about any stories you might have told them.

In my show, the magician doesn't "tell" a story; the story is the background from which the show is taken. Dr Who is a character involved in saving the universe, but the "magic show" is the twenty minutes or so during which YOU met Dr Who and he did something amazing, whether you knew who he was or not.

Pop Haydn doesn't talk about how he came to be performing here at the magic show, he does the show. He doesn't explain his background or why he is doing what he is doing. He does it. He may or may not tell a story with some of his magic tricks, but those stories aren't HIS story. They are not the story of the show or the magic. The important story for the magician is the backstory that the audience may not know about.
Pop Haydn
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Here is a complete close-up show performed in more of a standup/parlor situation. You can make some close-up things play big enough for parlor.

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