Greetings 'fellow frolickers of flung fingers'!

I've been working for some time,
on an Act solely of movement and manipulation.
The Technique is coming,...slowly.
And the Routining,...is 'there'.
Things are close.

I'm turning my concentrations,...and worrys;
to the 'soul',
of the Act.

Two areas:
Facial Expression(s) and Re-action.

How would you guy recommend going about the Tasks?

Perform the Act 'flatly',
and let things 'develope'?
(I've done this successfully, with my others numbers.)

Or, would you plan-out,..
choreograph and rehearse the facial expressions and re-actions?

I'm stuck,
but hungry,
to get this baby born(!).
I'd really appreciate any thoughts, kicks, prods, or insights.
Thanks in advance,
gallagher

So we are back at step one.

What is your character?

Without establishing an on stage character, you cannot know how you would react to anything. Except you are happy to be there performing for you audience. So smiling, and gratefulness should be reflected by you.

If you are playing the part of a magician, then there is no expressions, as you are confident that your magic works. If you are playing the part of some other character, then you would react like that person. Say a drunk, then you may be totally surprised at what is happening.

Additionally, manipulation of what? Practicing what?

Once, you have practiced, it is time to rehearse, the practice is over, you should have learned the moves and methods.

Do you have a costume? If so, what is it?

Have you studied those successful magicians, like Lance Burton, Fred Kaps, The Great Thomsoni, Channing Pollack, Mr. Electric, Shimada, Norm Nielsen, Cardini, Arthur Buckley?

What do you think their characters are, and studied their body movements and expressions. Notice, I did not say, "copy".

You do not make facial expressions for the sake of making faces, you have to have a mental image, thought, and purpose for any movement or expression.

Bill, thank you for the thoughts,..and questioning!
Twice!...!
"Thanks." "Thanks."

Indirectly, you really helped me out.

Thru your questions,
I realise,
I have not defined my character enough.

I'm not really sure 'how', or 'when'
he should re-act to situations.

Before I go into letting the guy perform,
I'm going to try to figure him out,
a little bit more.
It's kind of 'Dr. Frankenstein-y'(!),..
creating a.....'personality'.

As a final statement,
you said:
"You do not make facial expressions for the sake of making faces, you have to have a mental image, thought, and purpose for any movement or expression."

I believe this has probably been mentioned before,
in different words and languages and situations..
but it never hit me so deep,
as now.

"...you have to have a mental image,..."

That's really,..really helped me.

Answering my own question:
I'm going to work on this fella's character,..
setting his bounderies and stand him up.
Then I am going to rehearse some of his re-actions.

I believe his re-actions are needed and important,
to help create the illusion.

Again Bill,
thanks for taking the time,
and sharing with me your thoughts.
It helped.
Gallagher

p.s.: Bill, where could I see Arthur Buckley's work?
His books really made me feel small(!).
I'd love to see him 'do it'.
thanks for any help.

Heya Gallager,

While magic is a Performing Art.....when it comes to performing, the majority of magician tend to be lacking. There are many exceptions but few.

Best to seek out info and advice from other actors/actresses who have been formally trained in drama/theater. There are also many books in Libraries on the subject.

I find those who have stage time, Shakespeare etal....can be extremely useful with all sorts of advise (facial expression, voice, movement etc..)

I definitely script and rehearse facial expressions and body language.

Facial expressions help you communicate with your audience. They help you set the tone and mood you want. And they tell your audience what to feel, and when and how to react.

A magic show is like a play, and the audience are actors in it, but you alone know the script. The audience doesn't know their lines, so you have to feed them to them, and tell them when to participate. Facial expressions tell your audience when they applaud, laugh, feel amazed, etc. They want to be a part of the show, but you need to instruct them, and a well-placed facial expression can do the trick.

I also tend to use facial expressions to define who I am on stage. I use mischievous glances, smiles, grimaces, flirtatious glances, and other looks to tell the audience who I am, what I'm doing, and how the show is going. I use them to enhance mood. And to make them think things are going wrong when they are not (or going right when they are going wrong), etc.

Every expression gets scripted and choreographed ahead of time to further a specific purpose. Then they are practiced and rehearsed, and finally tried and adjusted in front of real audiences. When I am on stage, and especially when I am doing a non-speaking manipulation routine, it is a dance, and everything down to the wink of an eye is part of the choreography. And like any good story, not a word (or expression) is wasted, and every one moves the plot forward or develops the character. As should be the case with all your movements.

So I think you should analyze your character and your routine to decide what you want to say to the audience at each point. Plan your expressions and reactions to further those goals, and make them part of your script, and rehearse them. Video them and analyze them. Then try them out on audiences and see how they react. Make changes where necessary. But never use random or wasted expressions or movement. Every move, every expression should enhance the audience's experience.

My $0.02 FWIW

YouTube, where else!

Arthur Buckley:
https://www.youtube.com/watch?v=dDCh2aF9gPk

----- Amado "Sonny" Narvaez

And here's Johnny Hart:
https://www.youtube.com/watch?v=E3lhINcJ74U&t=2s

----- Amado "Sonny" Narvaez

See if this link will take you to a collection of classic acts on the
IBM Ring 103 Norfolk
facebook page:
https://www.facebook.com/338764602812514......7301715/

The acts are:
Cardini
Channing Pollock (Sullivan appearance)
Neil Foster (16mm films; dubbed music)
John Moehring (audition tape)
John Moehring (Sullivan appearance)
Channing Pollock (European Nights)
Jeff Sheridan in Central Park
Victor Sendax (interlocked card production—home movie?)
Fred Kaps
? ? ?
Jeff McBride at NY Magic Symposium
? ? ? Early XCM
Ade Duval (multiplying balls and smoking thumb)
Magic of the Ed Sullivan Show
John Moehring
Fred Kaps
James Dimmare
???
Magic Napoleons Forgetful Freddy
??? Magician and Robot Magician
Johnny “Ace” Palmer

----- Amado "Sonny" Narvaez

WOw(!).
...this outpour will keep me awake tonight!

Thanks. I really appreciate it.
,..altho, I could use the sleep!

Zauberman, I know what you mean.
But thinking about it,
they've been working on Shakespeare,
for over 500 years(!).
"We stand on the shoulders of Giants....."
I believe you're right about an Acting coach,...
but I'm not sure I have the patience to look,
...or the trust.
I feel "I'm close".

Bill, I was hoping for something a bit more 'inside'.
This youtube video is,..
well,...
I can imagine,
I HOPE other recordings of his 'work' has been preserved.

Anatole, you're a walking, breathing encyclopedia of 'more then enough'!
I thank you for such a complete reference.
I thank you for the effort.

I must confess,
this is probably a phobia only I have,..
but,
I'm hesitant to watch other Acts,
while I am closing in on mine.

My 'chameleon gene' has an un-canny sence,..
and memory.
Other's,..idiocencracys and manorisms stick(!) to my un-conscious 'want-to-be'.
It's dangerous for me.
I really go out of my way to avoid watching similar Acts,..
in the moment.

. . . . ö. . . . . . . . . *. . . . . . . . . ! . . . . . . . . ß

Danaruns.
I'd love to have the complete $1.00 !
yes. yes. yes.
I believe you.
I believe you.
I think I need to do the same.
You've re-confirmed my 'needs'...
I seriously believe the process has started.

It may sound crazy,
but in moments of practising,
the Technique, though not perfect,
is being looked through,..
and parts of the Character are exposing themselves.
The Character's 'need' is beginning to emerge.

Moments around the technique,
are becoming empty(!).
Searching for reasons...
I know this sound crazy,..
but...

"The audience are actors in the play,.."
what a concept(!).

It's going to be a long night.

Again, I really appreciate the in-put.
It is really bringing me farther.

(One of the hardest parts, of putting together an Act,
is finding the kicks, pushes, and prods,..
between to solitary moments of practise,
..from voices of experience,
...and possible understanding.
The 'roads' can be long.
I appreciate it.)

gallagher

(con't.)
I tell my storys,
mainly over at 'The Sidewalk Shuffle',
but since I've asked a bit 'here',
I'd thought I'd past the next steps along,
as well.

'Reaching for the Bottom'

Greetings fellow 'Comrades of the Cobble-stones'.

An interesting 'toss of the dice' here.
Monika and I,
..I;
have been working on a Show,
to play 'next' to our 'big Act'.
(I've always had problems fencing in, my Interests)

It's a smaller,
quite 'moblie',
compared to Show-number-One.
,..and totally a different candy.

We took it out today,
for the third 'first time'.
We've been polishing. practising. planning.
...and procrastination(!),
with it,
the past four weeks.

Today,...yeah!

...boy were we,
I,..me,..bad.

Unfortunately,
not in the sence of Micheal Jackson's 'Bad'(!).
...i mean,...
i stank!

Phew.

It's not "back to the drawing board", though.
It's: "practise today",...back out there tomorrow.

My problems were three-fold.
First, in order to keep my knees in shape
and my torso fit (for playing piano),
I swing a 16 kg. Kettle-bell.
It really helps!

But, because we have been performing so much lately,
I hadn't worked out for the past three weeks.
Last night, to stretch my knees,
I thought I would give it a swing.
Today, my hands were like,....suasages!
Clumps of meat,...
no 'delicacy'.
Mistake # 1.

Secondly: I have been practising with 'Hat #2',
in order to keep 'the good Hat',
in 'good' shape.

BUT,...altho the same Hat,
..it has a totally DIFFERENT feel and balence!
I was "off" from step one.
Mistake #2

Lastly.
I was a bit 'nerved' inside.
It felt like 'work',....grinding.
I couldn't find the 'wonder',..the 'beauty'.
Without that,..
I had NO way to create,....either.
Mistake #3

I'm going to practise now.
Tonight,
get my head together.
Tomorrow.....yeah.

I know,
as painfull as it is:
With a new Show,
we've got to hit
the lowest possible point we can imagine.
...and both Monika and I have HUGE Imaginations!

But,..once we've kissed the crack,
..we can begin to rise up.

For me,
this is a truth.

Actually, we HAD nice moments(!).
And strangely, Monika and I noticed:
The better we get,..
the worse we can find ourselves to be!

It's a journey.
There's 'the Talk'.
Then there's 'the Walk'.
Thanks for your ears(!).

Tomorrow! ☝
Gallagher

P.s.: In case anyone here is interested,
I've continued writing up 'the development',
in 'The Side Walk Shuffle'.

The Thread in intitled:
"Searching for 'bottom' "

Wishing strong fingers,
open minds,
..and tickley feathers in our socks,
Gallagher