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Topic: Curious on how other people do it.
Message: Posted by: Head Case (Oct 9, 2011 01:38PM)
Just curious on how other people put full length close up shows together. anywhere from 15-45 min.

Do you get all your effects in order, then add patter to it? Take existing effects that have patter and try and tie them together. Maybe you work on a baseline theme or story first, and find effects to accent what your talking about.

Im curious on how other people go about designing their close up shows.
Message: Posted by: IllusionsMichael (Oct 9, 2011 02:30PM)
For me, I just keep studying my material, and occasionally I notice a similarity between one trick and another. Or I notice that I'm now in position to do this other effect. Then I write them down and try and see what theme the two tricks have in common and devise a story around it.

That's usually how it goes for me, but as a hobbyist I don't construct many routines.
Message: Posted by: Mobius303 (Oct 9, 2011 08:43PM)
I do a few different things to get my act in order for performance.
1. I create a specific act ( close-up for example) for the venue I am performing at.

2. I create a back up plan should the audience be different than expected.

Both acts have specific pieces that I perform and other items I can substitute on the spot should something unexpected happen or I feel like improvising.
I have specific tricks I always do during a show and a patter structure that is not ridgedly adhered to with each performance. This way I do not get tripped up during a performance patter wise.

I go over my routines the two days before performance from beginning to end to also ensure the act runs smoothly from a performance stand point.

Routines are good for table hopping as they can sometimes seem like a mini act. An act is a series of routines with a begining, middle and an end. An act can contain many different pieces or props such as coins, cups or cards maybe ropes.

Hope that helps,
Mobius
Message: Posted by: afinemesh (Oct 9, 2011 11:31PM)
[quote]
On 2011-10-09 15:30, IllusionsMichael wrote:
For me, I just keep studying my material, and occasionally I notice a similarity between one trick and another. Or I notice that I'm now in position to do this other effect. Then I write them down and try and see what theme the two tricks have in common and devise a story around it.

That's usually how it goes for me, but as a hobbyist I don't construct many routines.
[/quote]

This is exactly the way it happens for me.
Message: Posted by: bowers (Oct 10, 2011 11:58PM)
[quote]i also use this method and have combined two tricks into one for a double illusion
On 2011-10-10 00:31, afinemesh wrote:
[quote]
On 2011-10-09 15:30, IllusionsMichael wrote:
For me, I just keep studying my material, and occasionally I notice a similarity between one trick and another. Or I notice that I'm now in position to do this other effect. Then I write them down and try and see what theme the two tricks have in common and devise a story around it.

That's usually how it goes for me, but as a hobbyist I don't construct many routines.
[/quote]

This is exactly the way it happens for me.
[/quote]
Message: Posted by: The Burnaby Kid (Oct 11, 2011 12:19AM)
[quote]
On 2011-10-09 14:38, Derek Castillo wrote:
Just curious on how other people put full length close up shows together.
[/quote]

Ah... AH... AAAHHHH...

ATCHOO!

http://sleightly.com/blog/2011/09/03/246365-how-to-construct-a-set
Message: Posted by: billappleton (Oct 11, 2011 10:21AM)
Thanks Andrew that is a great blog entry.

Derek, one simple thing that I do is to practice tricks in organized sets that reduce prop movement. So for example, a card set, cards and coins, a four coin set, okito box set, etc. Then practice each set separately with patter and a timer. The props come in, the set is executed, and the props go out, or in to the next set.

Then you can use these sets to include or exclude things in a dynamic, modular fashion, and that gives you some flexibility to assemble an entertaining show on the fly. Some individuals will react differently based on the type of magic. The working conditions, furniture, and angles are usually unpredictable. And also the length of the show should be expanded or contracted to optimize the situation.

I do close up but also kids shows, and this strategy really works there. Is there a stage? A place to hide surprises? Indoors or outdoors? Chairs or the ground? Sound conditions? Audience size? Parents in the back? So I bring more sets than I would otherwise perform, and assemble the show like building blocks as needed. So this may sound like mundane advice, but for me the variability in performing conditions is the biggest issue that I have to deal with.