Greetings.
I have been working on a 'manipulative routine',
for some time now.
The techniques are coming,...😊.

As I improve,
I find my 'sence of presentation'
becoming more and more serious,... ☹️.
I am not intending on doing 'comedy', per se;
...however,
...this 'seriousness' scares me!

There is a video clip,
posted by Bill Hegbli,
a few spots beneath this:
of Lance Burton performing.
Brilliant technique,
....at times, however,
also,....
a bit 'seriously intent'.
He may have intended,
the 'intensity",..(?);
I am hoping to avoid it.

Any suggestions,
on creating a
'pleasent lightness'?
,...i think,
this is what I'm after.

Any help,
thoughts,..
pushes(!);
will be greatly appreciated!
gallagher

The answer is not simple, you should think about your "Character" on stage, who you want to be, how he would think and act, acknowledge and interact with the audience.

Then think of how the character would react to what is happening to the props in your act as they appear and disappear, then try several attitudes.

Work on your facial expressions, and smile and acknowledge the audience is present.

Gallagher - I think Bill has several very good points for you to consider.

I would also suggest you think of other manipulative performers and how they added a "lightness" to their acts.

IOf course, there was Cardini, whose productions seemed out of control. That is an approach that could be applied with several variations: no control at all; some practiced skill, but some unexpected productions (not what you were expecting/not where you were expecting); an overconfident performer where magical things still happen, but not what you intended; a Tomsoni kind of approach; etc.

One premise could even be that you borrowed a magician's suit and it was producing the manipulated items, to your delight but then to your consternation.

Does any of that seem appropriate to a direction your performance persona might want to take?

It might perhaps help if you provided at least some minimal information about your act--such as the props you use (cards, coins, balls, linking rings etc). If you're doing cards, for instance, a diminishing cards effect could be interesting. If doing billiard balls, a perpetual balls routine would lend itself to a comedy presentation. If you talk during your act, try a Six Card Repeat routine. Although rope tricks are covered in the "Knots and Loops" forum, many rope routines require considerable manipulation skills and also lend themselves to comedy. There are also some good comedy bits in various linking ring routines and linking ring patter--like Allan Hayden's "Fancy Ring Routine."

----- Amado "Sonny" Narvaez

Many ways to go to Rome. you have got serious because your manipulations became serious. if you want a lightness then think of lightnes manipulations.
devine lightness and see if you can find examples to create a vision. then create your uw world of lightness.

Hey Guys,
thanks for taking the time
and sharing your thoughts(!).
They help!

Bill,
three sentences,...
bam!
If I can do this,...
I'll have it.
I really think you're right.
Until now,
I actually haven't thought much,..
AT ALL(!),
about a character.

On the other hand,
Opus;
I don't want another magicain's character.
And Sonny,
I don't want another guy's 'bits'.

So, how do I develope a 'character'?
,...I believe,
my own 'bits' will then come. 🙂

Is it a 'paper and pencil' job?
Sitting down and thinking of a persona?
I believe Cardini's character,
WAS actually an extension,
of himself.
Or was it a created figure?

Will a character,
come out of practising my routines.
Will something 'develope' out of me?
Should I sit and plan the guy out?

I've started thinking about 'traits' I would like him to have,.
a lightness.
a like-ablity.
an ease.
more non-chalant, then mysterious.
comforatable.

Still,
I'm not sure how to develope the fella(!).

Robert,
you could be right.
Maybe,
I must create a vision of the guy,...
and keep working it in my head.

I'm still not sure,
but I'm looking,..
and listening (😊).
Any thoughts help!
thanks,
gallagher

p.s.: Bill, you mentioned working on facial expressions.
Is it possible to,.."learn to smile".
"Learn to look 'at ease'"?
I think this it a step I need,..
but am not sure how to go about it.
Any thoughts?

Gallagher - can you say what you think would be funny/lighter in the context of what you are manipulating? That is where you start.

The 1st step is looking in the mirror and studying yourself, how do you perceive you, then look at how others perceive you as a person. Most performers are nothing like themselves on stage. It is usually how they want to be.

Take clowns for instance, they put the makeup on and look very professional, then they just stand there, not smiling, not talking to children and parents. Don't even move there arms and legs. They think they are clowns because they have makeup and a clown costume on.

You job is to decide how you want to be on stage and in front of people, and how you want them to perceive you. How do you stand, how to you speak, tonal inflection. Personally, I like to where suits and ties and look well dressed. Therefore this is very different then how I actually dress.

Character does not mean being a clown, it means a persona you project. The most sophisticated can still be very pleasant and happy to be around. Compare the Queen of England to prince Harry and Kate. Very different people, on can be approached and the other cannot.

I am sure you have an image of yourself in your "minds eye", start there. Put on the clothing you want to were on stage when you rehearse. Practicing is very different then rehearsing. So put your cloths on you will be performing in. Look in the mirror, how do you see this guys personality? How does he speak? How does he act, and move? Now give him a name. That is your persona. As long as you are wearing those cloths, that is the person you will be.

Now, script what you will say, and now you will talk, give some tonal inflection to your words. Don't force it though.

Next, if you are going to use music, find music that fits this persona, not what you "really" like.

Now look at how your manipulations of balls, cards, coins would be handled by this new persona. Is he slow and graceful, or quick and snappy in the handling and productions. Does this person seem things are happening to him and the props or is creating them.

Develop an inner dialog with each move and production. Look there is a ball over there, I will take it, and it becomes visible as you touch it. Or, look every one, see that ball hanging in midair, no, I will make it visible for you.

Look at this video, it may help you understand. Watch the performer Mayuco, not what she is doing. Notice the facial expressions and how she addresses/acknowledges the audience.





You also must decide if you are a manipulator, or a magician. A manipulator shows feats, more like juggling, and a magician makes objects appear out of thin air. They can be mixed, but if you are performing magic, the juggling can only be one or two times in the whole routine, if at all.

Wonderful and well spoken advice, Bill. Mayuco is such a superb, impressive performer to illustrate your points. Excellent Magic and excellent advice!

Julie

I would say Mayuco's act is a manipulation magic act, we can see she has great skill, but how those balls all appear at once is pure magic.

Here is another themed act of Po Cheng Lai performing his hand fan act. His I would say is a magic act as well.





His only mistake was his choice of music, as his choice of music overpowered his magic, thus loosing the interest of the audience. He should of added some other prop, or had more interesting props to hold the attention, as the audience clearly lost interest in only producing hand fans. The act thus was to long. This person has a DVD and fan set on the market currently, and I am very happy I found his full act.

Both these performers project happiness in their performances.

Now is only necessary to know what you mean by using the word happiness. It is a very subjective word description.

As a contrast, here is Anson Lee performing his card productions. This is presented more as a manipulator more than a magic performance. He is showing his skill.





What makes that a manipulation act? Notice that the cards are just popped into view, they are not plucked or appear from nowhere.

Anson also has severeal DVDs and manipulation playing cards available on line.

Just wanted to say, "Thanks."
The thoughts you guys shared,
have me,...'going'(!),

Bill, thanks for taking sö much time and effort(!).
In all honesty,
I don't like 'oriental manipulation'.
I respect the technique,...
the 'attitude', however,....
hmmmm,..?,..
hokey,...to me.

I'm a slower,
more,..
"barefoot-in-the-grass" kinda guy.
(,...who likes the technique. 🙃)
Watching it all though,
really made it clear,
to me.
I have a vague direction. 👍.,.... 🙂.
Time to do some 'walking'.

Thanks again.
Gallagher 'what did I just step IN?,..!' Hayes

Gallagher, please go over what I posted more slowly and absorb my words. You must have missed the part where I said your stage persona is not how you are everyday.

What you call hokey is some of the best world class manipulators in the world. I did not think you could critic them at this point in your learning. These performer all FISM champions.

What you describe about your self is what is considered Hokey. So be it, you will never be recognized, as people run from homeless looking people.

What I did was post examples of the text I wrote, not that you should copy any of their dress or style.

I consider your response shocking and insulting, I spent a lot of time trying to help you. That information was worth thousands of dollars to someone who will learn from it.

Johnny Hart's act is infused with a great sense of the joy of performing magic:
https://www.youtube.com/watch?v=0tnlopTpbF8
You can tell by the expression on his face as he performs that he's having a great time on stage.

The great entertainers know that one of the secrets to successful entertainment is establishing a good rapport with the audience. If you're having a good time on stage, the audience will, too. As Irving Berlin said:
Nowhere can you get that happy feeling
When you are stealing
That extra bow.

----- Amado "Sonny" Narvaez

Bill,
I'm sorry.
My appreciation lost itself, in my words, somewhere!

I REALLY DO,..did, appreciate your effort,..
AND ADVISE!
I really learned,..and see a much more clearly,
because of it.
And, I really am thankfull to the efforts you took(!).
,..the time,..
it really brought me farther.

Somehow, it tangled up in my writings,... sorry.

No insult is intended.
Totally the opposite!

, . . . . . . . . . . . .

My premises, though;
"I find the Asian Manipulist,
to work in a style,
I feel to be,,...'zomby-ish'.
Mechanical,.."
!....the 'smiles',...
I wouldn't watch them while eating breakfast(!).
(i just did!)
An honesty is missing.
And, the 'pureness', of slieght-of-hand,..
I find this to be essential.
(That is my "vague direction".)

By 'barefoot-in-the-grass',
I'm expressing a feeling.
(I actually DO,...own a pair of shoes,...
2 and 1/2 pairs,...to be exact.)

I'm going to strive,..
struggle,
for a 'lighter' feeling.
A more honest smile.
And maybe,..
maybe,
a feeling,..
a real feeling of 'improvisation',..
fun,..
"spunk"(!),
in my Act.
This is what I'm after.
(Combined, with 'fine technique'.)
[i just heard 18 'curious readers',...chuckle.]

Watching the films you advised,
and reading the advise you gave,...
It's helped me a lot,
in solidify-ing this Idea.

Again,
I am really sorry, for the mis-understanding.
I really respect and am thankfull,
for your ideas and advise.

{When I wrote,
"Time to do some walking.",
I meant this, in reference to myself.
As a metaphor, for,...
"I have some work to do."}
[Digital Communication, "yes" "no" "no" "no" "yes",...
has much 'clearer lines',...
,but I've been cursed with a Romatic heart(!).
,..."viva l'poem" 😌]

Respectfully.
gallagher hayes

p.s.: I'll send a film clip,
when I'm so far,,...
it's coming!

Anatole,
I thank you for sharing the film clip(!).
It was intersting to see Johnny Hart perform.

I'm not sure if times have changed,..?
if they are changing,..
or,..hmm,..?
But,
I didn't feel comforatable watching this guy perform.
I find it so hokey.

I believe,..feel;
the more realistic Magic can be seen,..
the more believible it would be.
The 'Show Biz' glamour,
turns me off.
The movement,..
the costumes,...
the props,..
the music,.....

I liked some of the technique.
Again, though,
the movement and the pace,
through me off.

Was it a different 'time'?
ARE, times different?
,...I'm not sure.
It could, just be me,..!
,but,..
I don't like watching it.

The feeling it gives me is,...
not good.

I am thankfull, for the insight, though!,.. 🙂
It clears my 'vision'(!).

Thinking about Irving Berlin,..
I believe;
" that 'happy feeling' ",
comes from,...
expressing an honest feeling,...
and being understood.

Gallagher

p.p.s.: (personal post-script)
The attraction, for me,
to the Sleight-of-Hand,
is,
it's pureness.
For me, not only the technique;
but the presentation,
must exasperate this(!).
An Aesthetic..
'Honesty', is at the roots,
of Aesthetics,
..i believe.

,...ahh.
,to practise one's beliefs...... 😬

I think ultimately it all comes down to the Roman poet/philosopher Lucretius's observation that "One man's food is another man's poison." Classical music is not as popular as today's Top 40 tunes. But there is still an audience that appreciates that kind of music, and generations of musicians who acknowledge that even rock and roll owes a huge debt to all thegenres of music that came before it. It also behooves us to keep in mind what Isaac Newton said about his accomplishments in science: "If I have seen further than others, it is because I have stood on the shoulders of giants."

I attended a great lecture once on what makes for a marketable act back in the 1980's. I asked the lecturer if there was stll a market for a manipulation act. The lecturer said that even Channing Pollock's act was too old-fashioned to be successful in Las Vegas. But shortly after I saw that lecture, Lance Burton made his first appearance on "The Tonight Show with Johnny Carson" and suddenly manipulation acts were in vogue again, which opened the door to success for acts like Joseph Gabriel, Levent and others.

Edgar Guest put it succinctly thusly:
_IT COULDN'T BE DONE_

Somebody said that it couldn't be done,
But he with a chuckle replied
That "maybe it couldn't," but he would be one
Who wouldn't say so till he'd tried.
So he buckled right in with the trace of a grin
On his face. If he worried he hid it.
He started to sing as he tackled the thing
That couldn't be done, and he did it.

------------------------------------------------

----- Amado "Sonny" Narvaez

Hey Anatole,
I know what you mean,
And I understand the point of view.
I've worked with it,
...struggled with it,
for a long time.

One Artist,
always pops up in my mind, however.
An "act of old",...
An Artist, with an act;
that still, today,.(!),
IS,.. WOULD work!
On all levels,
..as "well",
as in it's "prime".
(On top of that,...
a Magician!)

When I watch Cardini's 'Act',....,
yeah...!
Why?
What is it?
,...that gives it a universal appeal,.
even today?
Timeless.
.?

It's taken me a long time, to come to the 'point':
(not necessarily 'conclusion'..)
"the honesty".
There is an emotional truth, to it.
It's believible,...
even today.
The costume.
The character.
His actions/re-actions.

The Aesthetics, in the 'Act',
are 'natural'.
Easily believible.
Acceptable.
The audience,..
doesn't have to "play along".
If they like you or not,,...
they can/WILL accept what is happening.

bingo.

*. .. . . . . . . . . . . . . . . . .. . . . ö. . . . . .

In the same spirit,
a little poem, for you.
By the late great Chicago 'philosopher',
from 1996.
Shel Silverstein. (😊)

"Draw a crazy picture,
Write a nutty poem,
Sing a mumble-gumble song,
Whistle through your comb.
Do a loony-goony dance
'Cross the kitchen floor,
Put something silly in the world
That ain't been there before.”

smiles,
and appreciative,
for your thought;
Gallagher

p.s.: One more 'Silverstein',
it's kinda fitting,...
I think you'll appreciate it. 🙃
[,....gosh!
,we don't even have to learn Latin(!),
to enjoy him!]

"All the Woulda-Coulda-Shouldas
Layin' in the sun,
Talkin' 'bout the things
They woulda coulda shoulda done...
But those Woulda-Coulda-Shouldas
All ran away and hid
From one little Did. "

When I started at this magic stuff late 70's, like many I wanted to be like Copperfield,or Vernon. But as Vernon said "be yourself". Everyone has a "character" inside. just find it.
When I stopped trying become "someone else", I stumbled on my sort of performing character. It's not how I am everyday, boy that wouldn't work! I've had a stutter all my life so
it was difficult to think I could even do this. But it worked! I still stutter in conversations on the phone worse!, but rarely if ever when I perform.
It's because when you're performing you know or have an idea of what you're going to say before you say it. In spontaneous conversation you don't so that's when it happens.
I am usually the quietest one at a party or event as I know what will probably happened if I start chatting with someone.

Many years ago a fellow stopped and asked me the time, I struggled so long to get it out, I doubt he ever asked another stranger the time!

Shel Silverstein!! now there's a name that conjures up memories from the distant past. I remember him from "Mad" magazine in the 60's and 70's.
I used to love his iconic humour.

Nala Nosmht is right, when people come to see entertainment they want to see you, your style. Try hard to be someone else will make you look rigid and incongruent.
I does take time to explore your character tho, and love the advice Bill Hegbli gave on the step by step guide of how to build your character.