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Seance Elite user Talking on the other side with 427 Posts |
Hello all,
I've been back recently and wanted to relate to you some of the lessons I've learned while telling some tales: 1) First and formost: Tell the tale! I've learned that if you cannot put inflection and drama while reciting the details of the tales, no amount of effects is going to save you. I've learned how to improve by listening to myself practice the tale on a tape recorder. (The video recording while practicing for both the tale and the effect is later after I'm satisfied with the delivery of my voice.) I also listen to recordings of others telling stories. Audio books can be a wonderful asset, provided they are read by actors. 2) Practice, practice, practice. I know it's no fun to practice without the audience being there, but the more you practice, the more comfortable you are when you actually do tell your tales for others. 3) One thing that is a real discovery for me was: All the stories that are told do NOT need an effect. Caleb Strange labeled this, 'The Marucci Rule', after Peter Marucci's observation that a tale must be strong enough to stand on it's own without an effect. The corollary is that I've found is that when not all tales have to have an effect, the audience is much more receptive. I still tell the tale, show some artifices relating to the tale, but no effect for that particular tale. This leads to the audience wondering, "What is going to happen?" They start to listen more carefully to the tale. If an effect is done, then that's an unexpected surprise. I've found that telling one tale with no effect at first, then one with an effect can set up others with no effect much easier and then some with effects interspeced as envisioned. 4) Entertain the audience, not yourself. I've junked some stories that did not work for the audience (even though I enjoyed them immensely, perhaps they need rework or still reside in the trash can). The audience is the recipient of your efforts. Make sure THEY enjoy it. 5) This has been discussed before: Not all tales have to be gloomy, dark and such. A lighter tale can make the audience chuckle and smile. A romantic tale can make the audience sigh in acknowledgement. Vary the types of tales and you will please the audience to a greater degree. These are some of the things that I've discovered while pursuing the presentation of bizarre magic. I hope by my humble offering that it might give a little insight to others. Dave |
Caleb Strange Special user Manchester UK 676 Posts |
Dave,
Many thanks for sharing those wise and insightful discoveries - much of value in there for us to ponder, I feel. I particularly enjoyed your corollary to point three, where you examined the consequences of 'The Marucci Rule'. Yes, it does feel like breaking the rules when we tell a tale with no physical effect, but like you say, this rascal unexpectedness can lead the audience into different, and exciting places. I must say, I thought your idea of using artifacts to accompany your 'effect-free' tales is a great one - a practical way to maintain theatrical continuity while playing with expectations and perceptions. Regards, Caleb Strange.
-- QCiC --
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Seance Elite user Talking on the other side with 427 Posts |
Quote:
On 2004-05-18 15:15, Caleb Strange wrote: Caleb, That is exactly what I discovered while I was working on this. When people can touch and see the artifact connected with the story, it makes it much easier to identify with the characters in the story. As you say, it also serves continuity. One other observation of mine: Don't talk to hear yourself talk. Each word of the tale should contribute with equal weight to the completion. Throw out anything that makes it unwieldy. Don't bore the audience. Many thanks for your input. |
Caleb Strange Special user Manchester UK 676 Posts |
'One other observation of mine: Don't talk to hear yourself talk. Each word of the tale should contribute with equal weight to the completion. Throw out anything that makes it unwieldy. Don't bore the audience.'
Absolutely - this is one the things that I, personally, have to watch out for . Oh! it can be heartbreaking to 'murder one's darlings', but, as you say, we must always remember who has paid to be entertained. Regards, Caleb Strange.
-- QCiC --
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enriqueenriquez Inner circle New York 1287 Posts |
[quote]On 2004-05-18 15:40, Seance wrote:
When people can touch and see the artifact connected with the story, it makes it much easier to identify with the characters in the story. As you say, it also serves continuity. [quote] Thats completely true. Some objects have enough power by itself that you don’t need to any effect with them to create a powerful experience. The idea of a “trick free story” may be for sure impopular among many magicians, but it is very successful with audiences. Seance, thank you very mucho for share such a wonderful set of reflections! |
Bill Palmer Eternal Order Only Jonathan Townsend has more than 24312 Posts |
The "Marucci Rule" has been around ever since story magic started. You will find it in Punx and you will find it elsewhere. But it's nice that you named it after the person you learned it from.
The "Punx Rule" is that the story must be strong enough to stand on its own and the magic must also be strong enough to stand on its own. But the two must blend together, without the magic overshadowing the story. The result is synergy, the effect being that the whole is greater than the sum of its parts. In Magical Adventures and Fairy Tales, and later in Fourth Dimensional Mysteries, Punx suggested that you make a recording of the story, told with all the feeling and inflection that you are going to give it. Then play the recording as you do the magic that goes with it. This way you learn the magic in the context of the script. And the timing becomes perfect. The term for being able to recite the story with all the feeling and inflection that you are going to give it is "acting." The term for practicing the magic in context of the script is practicing. And the term for doing them both together is "rehearsing." The end product is "theatrical magic."
"The Swatter"
Founder of CODBAMMC My Chickasaw name is "Throws Money at Cups." www.cupsandballsmuseum.com |
Stuart Hooper Special user Mithrandir 759 Posts |
One more thing.
The fact is good storytelling without a magical effect can still create the feeling we know as MAGIC. Thus, it really becomes nessecary to have a groundwork in the Art of Conversation, before becoming a magician. As Mr. Palmer states this involves acting. The ability to manupulate the flow of emotions and words in a conversation (story, or no), is invaluable to the magician. Can we gaze into someone's eyes and hold them there? Can we create and remove emotions simply with our voice and gesture? To me that seems the most important thing, to be able to entertain, WITHOUT any magic, before adding magic to the mix. However, there would seem to be some disagreement in the community. . Wesely James told me during his visit here that anyone possesing such conversational skills would do well to choose a different path than that of a magician. |
Seance Elite user Talking on the other side with 427 Posts |
Interesting...
Mr. James' observation seems to imply that magicians, as a whole, are poor conversationalists. I particulary doubt that since most magicians (other than magicians who mime or perform solely to music) have to converse with the audience. Granted, telling stories does take more ablility than just relating normal conversation, but still a command of the spoken word must be a requirement in my opinion. Quote:
On 2004-05-19 02:16, Bill Palmer wrote: Thank you, Mr. Palmer, for the above citation. It does make sense for the rule to be labeled the "Punx Rule", since he was one of the forerunners of using stories in magic. It is interesting how someone can cite where they first read about an effect or 'rule', and others, due to their longer involvement, can modify the citation to a previous originator. I guess that proves the 'rule', "There's nothing new under the sun." Dave Quote:
On 2004-05-18 21:19, enriqueenriquez wrote: enriqueenriquez, You're very welcome and you are right, the "trick-free" story is sucessful with the audience! Dave |
Stuart Hooper Special user Mithrandir 759 Posts |
Seance, was Mr. James said that because I lamented about people who get into magic to become entertaining. I hold that people need to be entertaining in many ways (like conversation, yes) before starting to use magic.
Mr. James simply felt that there is nothing wrong with people using magic to be entertaining, and that natural conversationists and entertainers might be better in other areas, like politics. Sorry, if I'm repeating myself, I felt a slight clarification was in order. A "trick-free" story plays right into this sort of idea. |
enriqueenriquez Inner circle New York 1287 Posts |
Mithrandir,
As you stated yourself, a "trick-free" story can be a magical experience. IMHO, I find the idea of tricks being the only posible way to magic, quite boring. |
constantine Regular user Memphi, on the Mighty Muddy 189 Posts |
Seator Crandell said if you can tell two funny stories and stack dice,you can call yourself a magician. Then if you can learn to tell anothrr funny story,you can forget the magic crap and yourself an entertainer.
Constatine 49%er
“The way of the transgressor is hard—to quit.” —Jefferson Randolph “Soapy” Smith |
Bill Palmer Eternal Order Only Jonathan Townsend has more than 24312 Posts |
That hits the nail right on the head.
"The Swatter"
Founder of CODBAMMC My Chickasaw name is "Throws Money at Cups." www.cupsandballsmuseum.com |
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