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teejay Inner circle Liverpool, UK 1831 Posts |
Hi All
I was doing some research and I came across a thread which started to talk about 'finishing off an effect properly' (just an effect and not a routine or whole act) It said that people were losing the art of doing this because they were buying effects and just doing them as in the instructions They were doing the effect and 'just leaving the specs hanging in the air' i.e they weren't finishing off the effect properly Several agreed that Don Alan was an expert in this area. It also mentioned Fred Kaps and Dave Williamson. I have tried lots of searches for info on this aspect on the Café but no luck I would like to explore this further but I am at a loss as to how to. Does anybody understand this premise? What is this aspect called? Can anybody give me any keywords to search for? Links? Names? Cheers After searching a few hundred posts, I found it Quote:
Bill feels that Wilson does not know how to properly end tricks. That he doesn't "release the tension" that the magic builds up in an audience. I agree that this is very important. Perhaps vitally important. Gene Anderson also understands this. As did Fred Kaps and Don Alan. Can anybody enlarge on this? Perhaps some links (or whatever)? Still looking... lol At last! Here is the article that started it all:- http://www.25offmagic.com/ It is the bottom section of the web page Perhaps somebody can comment/add to what is said there? :) TJ |
Dennis Loomis 1943 - 2013 2113 Posts |
To understand the release of tension one must understand the social contract. I feel that the release of tension is much easier in a formal magic show. If customers have purchased tickets to see a magic show, it is assumed that they understand what is going to happen. They expect to be fooled. Still, the tension of an effect must be removed at the end. The simplest way to do this is to ask for and get a round of applause. During this, the audience acknowledges that you have done your job (you've fooled them) and that they enjoyed it. The tension is gone and they are ready for more. However, the problem is that spectators don't always know or understand that applause is either appropriate or expected in informal settings where close-up magicians perform. And so spontaneous applause does not occur and other techniques need to be used to release the tension. Don Alan's technique was esssentially comedy. A funny line or gag or bit of business will bring a laugh which also releases the tension.
Some performers just don't understand this at all. An effect will come to it's conclusion, and the tension in the air is so palpable that you can cut it with a knife. (To use the old cliche.) The spectators do not know what to do, if the performer is going to do more, or what. It can be incredibly awkward and destroys the entertainment value of what has gone before. Children are sometimes hard to work for because they have no understanding of a social contract for a live performance. They may not have had the experience of attending a show where applause was given. Even when the adults applaud, the kids often do not "get" the idea that they should, too. A good technique is to do an effect where you have a spectator involved. Even if it's only to hold something for you while the magic happens, to say a magic word, to wave their hand or blow on something to make the magic happen. Then, at the conclusion of the effect, you can say: "Let's all clap for my helper, Johnny. He did a great job." Then you lead the applause. Not only does the applause help to relieve the tension, but it instructs the kids that this clapping of the hands is not only allowed, but that it is a part of the show experience. With Children, it's appropriate to use one or more warm up bits which get they clapping. When they realize that clapping is okay, it's their turn to communicate during the show, and that it's fun, you will increase the chance of applause at the end of your effect. And, if the other kids are clapping at the end of one of your tricks, you decrease the chance that the "brat" in front will pipe up and say: "I know how you did that!" Occasionally, I may be doing walk-around magic in a situation where one or more other magicians have been hired to do the same thing. (Because of the size of the group.) I will often begin by approaching the first table. I'll "lean-in" in a conspiratorial manner and say: "See that other guy over there? That's my friend Tom. He's the other magician performing here tonight. I love to make him think I'm the greatest magician in the world. So, please help. When I say "Go" please clap and scream and hollar as loud as you can, as if you've seen the greatest magic trick ever. You can jump to your feet if you like, too. It'll scare him to death. Ready? Okay, GO!" The psychology of this is pretty simple, but there's a lot going on. First, the people at the table now know that you are a magician and that you will be doing your tricks for them. They know that applause is not only allowed, but expected. And, you've gotten them on your side by inviting them to participate in a little conspiracy. Beyond that, all of the spectators at other tables have heard the loud applause and will wonder just what you did. They will look forward to the arrival of one of the magicians at their table, and they also know that applause is appropriate even though the performance situation is informal. It's also possible to drop a "hint" to the audience that applause is appreciated or appropriate. You might say: "You're a wonderful group, really, but you just missed your first big applause cue." Said tongue in cheek, with your most charming manner, it may bring immediate applause or at least set you up for applause at the climax of your next trick. When I do my routine of knots, they are really more juggling than magic. Often the first knot will not produce applause, partly because it happens quickly and partly because the audience does not yet know that this is going to be a series of skillful feats, but not necessarily magical. I often say: "That's okay. You don't have to clap for every one of these... I'll move along, you pick out the ones that you like." Generally this gets some laughs, which serves to relieve the tension, and it also reminds them that if they like what you do, they should let you know. And, often the laughs are followed by a smattering of applause, as they realize the social contract under which the show takes place. Best to all, and thanks to teejay who alerted me about this thread and asked me to contribute. Dennis Loomis
Itinerant Montebank
<BR>http://www.loomismagic.com |
teejay Inner circle Liverpool, UK 1831 Posts |
Dennis
A masterclass in the subject... I'll bookmark it and absorb the advice. Many thanks. Have a look at Curtis Kam's masterful explanation here: http://www.themagiccafe.com/forums/viewt......tart=0#8 This and Dennis's together give a very valuable lesson in this aspect of magic. It's guys like these two that make the Café the best site on the net. Great stuff... TJ |
Dennis Loomis 1943 - 2013 2113 Posts |
To TJ,
Thanks for your kind comments. Before I rush to read what Curtis Kam has written, I'll share another thing I do when working for a Kids Birthday party. As the youngsters file in and take their places, I get the Birthday Child to sit in the middle of the front row. (I'm going to get them involved in the show several times, so it's convenient.) The first or second effect in the show (my opening is done silently to music after a brief verbal warm up) is the dissolving knot in a silk. I tie it twice. The first time, I blow on it and it disappears. Then I say: "Do you think that Bobby (the birthday child) can do that, too? I think so. Bobby, sit right there and I'll tie another knot. Now, can you blow on it like I did before?" I then lower the silk held horizontally between my hands right in front of his face. Because he's in the front row and facing me, no one can see if he blows or not. This is important because you never know if a kid is going to play along with you or not. I trip the knot, raise the silk up high and say: "He did it! Give Bobby a big clap!" And I lead the applause for the kid. This achieves a couple of things. First, you've made the Birthday boy into a hero. He will like it, and his parents who hired you will like it, and the kid will probably be more inclined to cooperate in upcoming routines in which he will be prominently featured. Second, you've gotten the kids to clap so they know it's the appropriate thing to do when a trick is successfully completed, and by getting them to clap, you release the tension which has been created. You can now continue to your next effect and at it's climax give a big applause cue. Kids may be a little slow picking up on it, but usually the adults present will clap and then the kids will join in more easily because they have clapped once before. Best to all. Dennis Loomis
Itinerant Montebank
<BR>http://www.loomismagic.com |
teejay Inner circle Liverpool, UK 1831 Posts |
Another terrific post from Dennis
Thanks D Cheers TJ |
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