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Paul Jester Special user UK 759 Posts |
I just had a little epiphany about what makes it so hard to use a character in a manip act and to avoid showing off and being cocky... but it's hard to explain, as ever...
When you're on stage doing your split fans or whatever you know you're supposed to be doing magic, but you also know just how amazingly skillful it is and how long and hard you worked to be able to do that. But so does your audience (ok, maybe not quite a full grasp, but some idea). So when they applaud sometimes they are applauding not because of the magic content, but because they think you're very skillful/clever (how many times have audiences told you how clever you are?). I think that you recognise this and then start to chase applause from this, all be it subconciously. Your job is to entertain them, and they seem to be entertained. Also the other interesting angle on it is with the victim role, where you've apparantly got no skill, but the magic just kinda happens to you. Here your audience applauds and you know they're clapping what you've just done using your skills/moves. This is so easy to interpret as them clapping your skills/moves. Thus you want to take credit for what you've done, and it's a downward spiral from there. You're trying to create magic for them, they're clapping at how many cards you can hide behind your hand, and you think they're baffled, so you show off even more, and end up with magical juggling. The easiest source of arrogance on stage is probably the ego boost from the applause. The "I fooled you, you clapped, I'm great, I'm gonna fool you some more" kinda thing. It's so hard to downplay your skills when that is what the audience seem to be clapping and sometimes are clapping. It's almost like you have to sacrifice the idea that you created the magic (from all that study and practise), and make like it's real. When you're creating it, but it's supposed to just happen, and they clap you, that's really hard to do. I hope that kinda makes sense, I wish I could be clearer. But I'm gonna go now and try to review my act with this concept... Paul |
JamesTong Eternal Order Malaysia 11213 Posts |
Yes, Paul, it is hard work getting a genuine response from the audience. One may get some applause but getting genuine applause is a totally different matter all together.
Getting genuine appreciative response and applause for offering 'magic' in your performance, a pleasing stage personality, artistic movement, a great story (theme of your act), etc is a life long journey of a 'magic performance artist'. Note: I did not mention - a magician. |
Michael Baker Eternal Order Near a river in the Midwest 11172 Posts |
If the audience is applauding your clever skills/moves, then you have accepted the mantle of juggler. You have told them, "I am here to accept your applause for the skillful manipulations that I can do." This will consume your act as long as you feed into it. They are only giving you what you are asking for.
If you wish to receive applause for something else, such as the character you portray, it is time to take an honest look at your act. Is the character interesting enough for the audience to, well... take an interest in? If such a character is the "victim", as you put it, and the magic happens in spite of him, does this character possess any endearing qualities that makes the audience care about him, or is he just a pitiful wretch... or worse yet, a cocky so and so that probably deserves to be vexed by magical events? The character must be at least identifiable as hero or villian, as it is assumed the act consists of only the magician and the unknown entity that causes the magic to happen. From this point, the act should center on some, even if only basic dramatic plot. Put your man up a tree. Throw rocks at him, and then get him back down. What he faces and how he deals with it are essential elements of drama. This is the conflict that draws the audience in, gives them a situation to care about, and ultimately forget that skill/moves are responsible for the magic. In short, the magician must get over himself in regards to the skill he possesses, except of course, if that skill is what is being challenged in the plot. The magician must set his mind to a greater purpose in his entertainment, realizing that his skills/moves are merely tools used to build this greater thing. People applaude Michelangelo's David, not the hammer and chisel that was used to make it. ~michael
~michael baker
The Magic Company |
Jeb Sherrill Inner circle Elsewhere 1161 Posts |
Paul,
Man, that can really be a tough one. It really is easy to start juggling in the middle of a performance, especially when you hit some spot that you can just play with (i.e. rolling a ball between your fingers over and over in every conceivable pattern or popping off cards just to watch it happen). To an extent it will always be hard to discern the difference between applause for skill and applause for magic, since one might have a similar reaction to ones own physical skill as one did to his own magical abilities. I think the answer does lie in two things. One, the afore mentioned character. If the character is strong enough, or perhaps I should say, if you are strong enough in the character’s mind, then all moves will proceed from the character’s mind, instead of from the magician/juggler mind. The second, and perhaps toughest part, is to be able to pull your mind away from what you know. They may think it’s some sort of skill, but don’t really know what it is. They don’t see shells, backpalms and topits, but the effect produced from various methods. This may not even be possible for most people, and thus we have to pretend that we can. While it might cause a moment or two of genuine schizophrenia, it is important to remember that there are no cards on the backs of our hands. Cards are appearing out of nowhere, balls are really multiplying in our hands and we really can disappear. Character is very similar to the old theatrical rule of looking and gesturing where you want the audience to look. If we believe, the audience will too, just as they look in the direction we look. The trick of course, is doing it. Jeb
I don't believe in reincarnation, but I may have in another life.
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Bairefoot Inner circle 1097 Posts |
One question that I have. Why does it seem that everyone wants you to be a character (magicians that is)? I have done pretty well in contests and make a great living at doing magic. I have always been myself on stage and close-up. Now do not get me wrong if you are trying to tell a story of your act you might need to be a character. Some people I have seen and know now and in the past play charcters because they are so boring in real life and if they look stupid or mess up it has no reflection on them when they are beign themselves off stage. Look at most of the Comedians that you see that make serious money they are being theirselves most of the time. My adice is be YOURSELF! This is only my two cents.
Bairefoot |
JamesTong Eternal Order Malaysia 11213 Posts |
Being yourself is also a character.
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Jeb Sherrill Inner circle Elsewhere 1161 Posts |
I haven't seen your act, so I certainly can't give an opinion of your abilities, but I would venture to say that YOU are a character, though only a part of you. We could easily enter into days of discussion about the characters we become, versus the characters we are and where the line is drawn, but when we refer to “character”, we don't necessarily mean a little boy, lost in the woods, discovering magic hanging off the trees, with wildlife randomly jumping out o his pockets.
Often a character IS us, but it's a part of us that works well on stage. And part of the reason that we particularly separate the "character" aspect of ourselves out, is that in magic, even if we are ourselves, we are not truly ourselves. Basically, unless your character is a fake magician, pretending to do magic on stage with sleight of hand and gimmicked props, then you are not yourself. Some performers "do" prefer to create a completely separate character (Sylvester the Jester for instance), though even he is taking a part of himself and blowing it up to insane proportions. Others have a character that is much like themselves, but a stage version who pretends he can do magic. In magic, unless we are showing gambling techniques or some other similar performance, then we are the proverbial actors playing the part of magicians. Jeb
I don't believe in reincarnation, but I may have in another life.
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kregg Inner circle 1950 Posts |
Bairefoot,
Every person under the sun plays a character. Do you speak in the same tone of voice when speaking to a stranger than you would with friends, your parents, or your grandparents? Your stage persona has a casual resemblance to the real Michael Bairefoot. Even actors don't go away or mentally check out, they just commit to physical adjustments and stick with them. Something deep down tells me that in real life your hand would never be extended out like you are clutching an invisible champagne stem (web page, show photo), unless you were directing traffic. We act all the time, some feel so natural they aren't aware they are doing it. Be thankful and count it as a blessing. Sincerely, Kregg
POOF!
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Bairefoot Inner circle 1097 Posts |
Thanks fellows I understand more of what you are talking about. But, Kregg I am pretty loud and proud off the stage too. I just have never looked at myself as playing a character. Thanks again.
Bairefoot |
kregg Inner circle 1950 Posts |
Back to original question - "Applause for?"
When breaking the fourth wall will ruin the illusion there's no need to acknowledge their approval. But, you should wait a beat or so before continuing. If however, you are the consummate performer, you must acknowledge your audience. Otherwise, they might take it as an insult. Lance Burton does a great job accepting approval; with a simple nod and/or a short, but sweet, sincere smile. He does this night after night, show after show, but, only if the audience gives him his kudos first. Jeff McBride has an exaggerated way of doing this. Nonetheless, it fits well with his performance style. Often times, I watch manipulators open their arms like they've just created the universe. That's okay if it's honest and fits the spectacle at that moment. Yet, with so many, it often comes off as disingenuous, pushed, or a milked moment.
POOF!
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Drew Manning Special user Dallas, Texas 913 Posts |
Quote:
Lance Burton does a great job accepting approval; with a simple nod and/or a short, but sweet, sincere smile. He does this night after night, show after show, but, only if the audience gives him his kudos first. He is quite wonderful at this. He is as charming in person as he is on the stage. My wife and I were fortunate to get to meet him after one of his shows last month. The same warmth and sincerity he demonstrates on stage is his true persona. Unless of course he can't make a distinction between being in his theatre and being on the stage. Maybe I don't fully get the argument here, but if you are doing what you love when you do a show and are geniune about it, does the reason the audience laughs or applauds really matter? The audience will remember that as a whole they laughed and applauded and were entertained. To me, that is what matters.
I live my life for a layer of ice
Just like those poured by my bartender vice Any taste of vermouth would be really sublime, When you have a good martini time! -The Reverend Horton Heat |
Brent McLeod Inner circle 1792 Posts |
Remember audiences want to be entertained first & foremost
If your skills in manipulation don't do this -the applause wont come They don't care how long you have practiced moves-Entertain them!! |
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