Hello again,

I'm still brand new, so I figure now might be as good a time as any to ask a few questions about this subject.

How many cards on average do you think make a good card manipulation sequence?

(Granted, I'm still new at this, but I was thinking that about a deck's worth of split fans, and maybe 1/2 - 3/4 of a deck of singles, millions dollars, etc... mixed together might be nice. Thoughts?)

How many different productions do you use your routines typically?

(Right now, I'm trying to make a routine that has several - in the area of 12+ - different productions. Is this too many, do you think?)

What types of problems did you have when you were a few months into learning how to manipulate cards?

(Me personally, I seem to have a problem doing things with both hands. An example of this...I can do the backpalm production well with my right - up to 15+ cards - while my left hand can't even do five. However, ol' lefty can do the perfect and snap productions beautifully, while righty struggles with them. - any specific way to counter this? Practice, obviously, but perhaps something in my mind is causing a problem, too)

Does anyone know what exactly that clear thing was that Peter Marvey had on the back of his hand during his card manipulation sequence? (The thing that allowed him to spread his fingers.) Is there any place to buy one, or at least *see* one? (so I can attempt to create one)

What are the best resources to get ahold of for learning card manipulations?

(I have the J.McBride video series, a few of the old Hugard "Card Manipulations" books, and a couple of other resources - various books mostly. Are there any other good or better sources I could get to aid in the learning process?)

I guess that's it for the time being. Thanks in advance to any who reply. I know I can use the help.

Kallak

Wow, you've got a lot of questions and I'm sure that I've got some answers for you.

To start off with question 1, in my card manipulation sequence I use about 110 cards altogether. I use Bee brand for certain types of productions, Murphy's for split fans, and Nielsen for the turn around sequence that I have.

Juliana Chen uses 80 decks of cards in her act. Channing Pollock used 8 decks. I use two. It just depends on what you would like to do....

2. I use 5 different types of productions in my act. 12 does sound like a lot, but who knows? If it's smooth and not overdoing it, then why not?

3. The most trouble I had was that stupid pivot! I had such a hard time learning a pivot, but my friend who taught me card manipulation, Fred Cardan, told me how he does it and it immediately clicked. McBride shows how to do it very well in his videos.

4. I dunno what Peter Marvey used... lol

5. What you have for learning manipulation is great. Also, you might want to pick up some of the Tarbell books for card manipulation. I know vol. 2 has a huge section on them.

I hope this helps.

Ben Schwartz

Thanks for the good suggestion. It sounds like one I need to get my hands on.

I know what you mean about the pivot. I can do it okay, but I still have a little trouble with it from time to time.

How did your friend teach it to you? I watched it in the McBride video, but I'm not sure if it's working for me as well as I'd like. Maybe it's just something with me mentally.

What tips, etc.. did he give you. Maybe hearing what he gave you (and fixed your problem) will aid me in a similar fashion.

Thanks

Kallak

HAHAHAHA...Kallak your just like me hehe all the same questions I first asked exaclty. Calm down I bet you are wondering how it is all done but at the same time feel like you'll never do it. Dont worry you will master all of it in a year I guarentee it. Also you might go faster than that. What I suggest is practice normal techniques and then card manipulations it will get you calmed down and if you get frustrated go back to something a little easier. Also I suggest you forget about Peter Marvey.
After a while everything will be a lot clearer. Like the amount of cards used in a performance or how many productions you need to use. Also this is a BIG thing PUSH YOUR SELF.

I cant think of any other books either other that more manipualtions and Lewis Gansons routined manipulations. If I where you id create my own.

Wikiro

A few things to consider in constructing a card manipulation routine. Is it really any more magical to produce cards for 5 minutes rather than 30 seconds? Audiences get the point after the second split fan. When you are sequencing your moves, think of what non-production moves you can work in as well, Spins, tosses, fans, arm spreads. Its like coreographing a dance. You can't just keep repeating yourself. Mix it up, make it pretty, make it look like the cards are really appearing from thin air. The point of producing in different ways is to keep the audience from figuring out how you do it. If they are suppicious that the cards are behind your hand, you've been doing to much of the same thing, that be the ideal moment to pivot, and go into perfect production. work in other props if possible, candles, silks, canes, etc.. How many cards you need all depends on how long you intend your act to go on for. How long is your music selection?

truth be told, I haven't even gotten to choosing a musical bit yet. Does it change your performance that drastically?

I mean, if I do the same routine with 2 different music selections, will one seem more "magical" based purely on the music?

Kallak

it doesn't have to be THE music, but I would always recommend having some type of music playing in the background when you practice, and to be aware of it. Producing cards in rhythm to the music will ultimately pay you back when it comes time to put all the ingredients together for an audience. Sound is a huge part of theatre, and creating theatre is what this is all about.

Kallak-
I've been doing card manipulation for about 5 years now, and I've done a few small shows with a card routine. I try to mix it up each time, and throw in other moves that aren't really productions. Example, Diminishing Cards on McBride's volume 3. This is a beautiful routine, and here's a tip on how to get back into card producing in a show. On the last "squeeze", just do a normal palm of the cards. Then when all your concentration (and your audiences' for that matter) is on the "cards" in your hand, work them into perfect prod. postion. The cards are gone, and you're off producing again.

Also, I came up with a nice way to get into the Interlock (also on volume 3 of McBride). I've only done it once in a show, but it fools a lot of people. Have the cards in perfect again (I use my right hand, so mirror me if you must). I do the production from the side for a card or 2, then I swing it down as if to do it front on, but move my left hand at the same time, and interlock my fingers. Voila, you're loaded. You can reverse it to get out of this. Give it a try, you might like it.

Hope some of this helps. Give me an email at haasman04@yahoo.com if you want to chat, cuz I dont check this often.

Happy Split-Fans!

Haas