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Logan Five Inner circle Northern California 1434 Posts |
I am on my second reading of Maximum Entertainment by Ken Weber and he states in there ( and, I believe it..) that "Emotions generate real magic".
How do you get to your audiences emotionally? Are there specific steps that you follow? David,What is your idea of "real magic"?
Self concept is destiny..
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David Parr V.I.P. 898 Posts |
Thank you for asking this question, Richard. I was hoping someone would.
Emotions tend to be contagious. If mom looks tense as the grass snake slithers toward the picnic table, the kids become afraid. Human beings respond to the emotional states of other beings because we can relate their feelings to ours. (I should mention that the beings to which we respond don't need to be human or even real. Anyone who got misty-eyed during Little Nemo knows this.) But before I can make an emotional connection with my audience, I need to make an emotional connection with the material that I’m performing. (See “An Application Exercise” in The Magic Mirror for some ways to accomplish this task.) When my material is connected to subjects that are important to me, subjects that I have feelings about, my audience will recognize those emotions and respond to them. To me, the subject we’re discussing is real magic: forging a connection with another human being (or, sometimes, an animated fish). We can think about it intellectually, we can talk about it rationally, but when it happens it feels mysterious and wonderful and unexpected. |
Scott Xavier Inner circle 3672 Posts |
Do you find that factual material and memories enhance the routines more then imagined or created ones?
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David Parr V.I.P. 898 Posts |
The audience is not privy to what in my script is fact or fiction, aside from information that is a matter of common knowledge or historic record.
Real memories and experiences might be easier for me to convey emotionally because I have genuine feelings about them. Fabricated experiences might require more acting ability. I should mention that in making up a piece of false history for myself, I am careful not to stretch credibility to the breaking point. Asserting that I studied for a decade among Tibetan mystics or that my uncle Eddie was a riverboat gambler would not help to deepen my relationship with my audience. They would probably begin to doubt my sincerity. Sharing my past is meant to bring the audience closer to me. I must be careful not to push them away. |
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