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The Magic Cafe Forum Index » » Ever so sleightly » » How to Script the cups and balls? (0 Likes) Printer Friendly Version

EllisJames52
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Pittsburgh PA
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I've been struggling to oscript my cups routine. Every script I write doesn't feel unique to me. How did you script your cups and balls routine? Did you write the script and then put moves to it, or the other way around?
WitchDocChris
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York, PA
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I use scripts that are fun or interesting to me, on the assumption it would be fun and/or interesting to someone else just due to my showing interest.

I'm working on a new routine based around perception and how magicians manipulate how the audience is perceiving what's going on. That way I can kind of let them peek behind the curtain without actually revealing any secrets.
Christopher
Witch Doctor

Psycho Seance book: https://tinyurl.com/y873bbr4
funsway
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old things in new ways - new things in old ways
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For all of my effect descriptions I have shifted to describing FOUR Scripts:

ACTION - what the audience sees
STORY - what the audience hears, assumes or expects
INVENTORY - materials, moves, sleights, stratagems
SECRET - all the sneaky stuff both physical and psychological liked to Actions and Story

once these our outlines, the details fall into place -- and you can start with any of them
"the more one pretends at magic, the more awe and wonder will be found in real life." Arnold Furst



ShareBooks at www.eversway.com * questions at funsway@eversway.com
ROBERT BLAKE
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1) I read all kinds of routines
2) I pick what I like
3) I make selection
4) add ideas
5) make routine
6) try out and see where the problems are
7) rewrite and try out
sethb
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The Jersey Shore
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Quote:
EllisJames52 wrote: I've been struggling to script my cups routine. Every script I write doesn't feel unique to me. How did you script your cups and balls routine? Did you write the script and then put moves to it, or the other way around?


Whatever you do, PLEASE don't start off by saying "This is the oldest magic trick in the world." I grind my teeth whenever I hear it, and I hear it far too often and from people who ought to know better! In the first place, nobody cares how old the trick is. Nobody cares if it was performed in ancient Egypt because there are supposedly pictures of it in the Pyramids. Nobody [except other magicians] cares if the trick is a "classic of magic." They just want to see the darn trick already.

I suggest that you work out a routine first, arranging things for good pacing that will build to a maximum effect. Don't put every possible move in your routine, just the ones that make sense and move things along briskly to the final loads. Use moves that you can do reliably and accurately. The Vernon Wand Spin is a beautiful move, but if you can't do it gracefully and convincingly, leave it out, no one will be any the wiser. Nobody [except other magicians] cares if your sleights are easy or difficult, as long as they are clean and work well. A simple FP and a good false transfer are all you really need for starters.

I present the Cups & Balls as a mystery. While the cups themselves seem to be solid, at times they aren't, which permits the little balls to penetrate the cups and/or jump from cup to cup! Amazing! You also need some logical or illogical/funny reason for the final loads besides a "see what I snuck under the cups when you weren't looking" approach. And don't limit yourself to the usual fruit loads, either --- use your imagination to do something unusual, creative and different.

When I demonstrated and sold the C & B using the small Royal Magic/Fun Inc. plastic cups, I used a "D" size alkaline battery as a final load. Before producing the battery, I would announce that a ball would penetrate two cups at once -- to the bottom cup of a stack of three cups. After pretending to fail (and loading the battery in the process), I'd stop to think for a moment and then say "I know why it didn't work -- the battery's dead!" and then skip a beat and reveal the battery. It made no sense at all, was funny, and yet there was the battery, which usually produced a few gasps and laughs from the specs. You don't have to use live chicks, stacks of poker chips, liquids or other difficult loads to get a good finish. The battery was easy to handle, easy to palm, easy to load, cheap and instantly recognizable by the audience. It also made a very effective and convincing "thump" when I picked it after producing it and dropped it on the table. That proved it was solid and real without my saying a word.

Bear in mind, too, that many people think the C & B is just another form of the Three Shell Game, so that it's just a guessing game as to where the balls will be. That mindset changes the effect from a entertaining mystery to a frustrating puzzle or worse yet, a challenge. Unless you can handle that sort of situation, I wouldn't suggest going there.

Whatever you do, have a good time with the effect and your audience will, too. SETH
"Watch the Professor!!" -- Al Flosso (1895-1976)
"The better you are, the closer they watch" -- Darwin Ortiz, STRONG MAGIC
EllisJames52
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I had messed around with starting with saying “this trick was found on a hieroglyphic in the tomb of Beni Hassan in ancient Egypt. On the hieroglyphic to the left is where you can find the patter that every magician uses. The next tomb over is where we get our jokes. “

I’ll probably use it if I perform for magicians, but it doesn’t work as well for laymen
sethb
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Some of the "jokes" and patter I've heard in C & B routines probably were old enough to come from Egyptian tombs! <grin> You're on the right track, work up some new and interesting stuff. Just because Professor Hoffman used something, doesn't mean that you have to, so be discriminating.

BTW, I meant to mention that the battery load is not original to me. Magic dealer Al Cohen used it for a kicker finish when doing his Coin Cup routine (sort of a small Chop Cup that uses half dollars). Whether it was original to him or not, or where he got it from, I don't know.

But when I was playing around with the Royal Magic cups and trying to figure out a impressive final load for such small cups, I remembered the battery gag and decided to incorporate it into the routine. It also meant I only needed one final load instead of three, which not only reduced the chances of getting caught out, but also still provided for a good bang-up finish. Just a reminder that "we all stand on the shoulders of giants," as the saying goes. SETH
"Watch the Professor!!" -- Al Flosso (1895-1976)
"The better you are, the closer they watch" -- Darwin Ortiz, STRONG MAGIC
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