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Lawrence O Inner circle French Riviera 6811 Posts |
Apart from structuring effects as per Darwin Ortiz recommandations, are there specific so called rules to present Close Up
In his "Bert Allerton: The Close Up Magician" by Robert Parrish, p 69 reports Bert Allerton's Rules for the Close Up Magician. Does anyone knows what these rules are and if there are other sources for this topic (I love the advice of famous experienced people: their fame has to have had some ground)
Magic is the art of emotionally sharing live impossible situations
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kregg Inner circle 1950 Posts |
My question is whether or not the people setting the rules actually use them; if so, how often?
POOF!
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sethb Inner circle The Jersey Shore 2719 Posts |
There is a good discussion of this in Lewis Ganson's "The Art of Close-Up Magic," which was reprinted by L & L Publishing in 1996, but may now be out of print.
If there are any "rules" for close up magic, I have found that the best advice, based on my own experience, is to "go slow" and let people appreciate and absorb what you are doing. If your technique and misdirection are good, you will have no problems. I believe it was Dai Vernon who said that "Confusion is not magic." Most people have never seen close-up magic; the idea that a magic trick is being peformed just for them and right under their noses, is often a unique and powerful experience. So make sure you savor, polish and make the most of those moments! SETH
"Watch the Professor!!" -- Al Flosso (1895-1976)
"The better you are, the closer they watch" -- Darwin Ortiz, STRONG MAGIC |
Lawrence O Inner circle French Riviera 6811 Posts |
Quote:
On 2008-09-02 11:13, sethb wrote: Well! Watching your base line, Al Flosso was not really slow. Paul Daniels who has what is considered the best chop cup routine starts with a sprint to express that then he will stop being confusing and he starts the effect at a realatively slower place. Your quote of Darwin seems speaks more dearly to my heart. Could we agree that, as a "rule" for a good close up show, we have not only to vary the voice level but also the rhythm. It supplies entertainment.
Magic is the art of emotionally sharing live impossible situations
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Whit Haydn V.I.P. 5449 Posts |
In the 40's and 50's in this country, there were lot's of "rules" for teenagers to follow in making out, or "petting." These rules were self-imposed through peer pressure. A guy was considered "fast," not because he took less time to get to get where he wanted to go, but because he skipped steps in the process that allowed the girl to control the situation.
In magic, I think it is similar. One isn't "too fast" because of the speed of his talk, but because he "skips" the pauses and beats necessary for the audience to keep up and doesn't wait for the spectator's "agreement" to the individual steps of the process. It is sort of like two cars following each other to the same destination--the lead car can usually go as fast as he wants, as long as he makes sure the following car is keeping up. It is easy to lose someone at a red light. It isn't that the lead car went too fast, it was that he didn't stop when the following car needed him to stop. |
MickeyPainless Inner circle California 6065 Posts |
Excellent analogy Mr Haydn!
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Patrick Differ Inner circle 1540 Posts |
The same process applies in teaching. If I go too fast, my students aren't able to keep up with me, and I have to backtrack to make sure they understand what I'm saying. Whenever I expound my ideas too quickly, and I go too fast, my students get frustrated with me because they don't understand me, and I get frustrated with myself because I didn't make myself clear in the first place.
It isn't that I go too fast. It's just that I don't stop when my students need time to digest all the information I've given them. This is clarity of effect. And it is one of the things that Brad Burt is talking about in his topics on what elements comprise the excellent tricks. I sense that a synthesis of both topics is viable.
Will you walk into my parlour? said the Spider to the Fly,
Tis the prettiest little parlour that ever you did spy; The way into my parlour is up a winding stair, And I've a many curious things to show when you are there. Oh no, no, said the little Fly, to ask me is in vain, For who goes up your winding stair -can ne'er come down again. |
tommy Eternal Order Devil's Island 16544 Posts |
Small effects are usually preferable.
If there is a single truth about Magic, it is that nothing on earth so efficiently evades it.
Tommy |
Whit Haydn V.I.P. 5449 Posts |
At least, they are more easily digestible.
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kregg Inner circle 1950 Posts |
I love it whenever I watch a remote reporter who walks slow, while talking fast. Not as easy as it sounds. It takes discipline. I suppose this principle could be applied for close up work.
When I was younger I moved so fast, had I moved off the stage (close up) I would have made the audience dizzy. One time I did a trick count; it was insane, I had a series of events, but, the audience had no time to appreciate anything that happened. My show was an unforeseen event, rather than a show. A few of my friends in magic told me to slow down ... again, not as easy as it sounds for some folks. My mind always seemed to be too many steps ahead and I would sometimes get tripped up. It wasn't until I studied acting and worked on relaxation techniques that I centered myself long enough to stay in the moment. So, for me the key was not to slow down, it was the get centered by relaxing. My acting coach once said, "Of course you're nervous ... we're all nervous. Without nerves we'd be dead."
POOF!
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Lawrence O Inner circle French Riviera 6811 Posts |
Well. As a summary sofar Whit underlined and other confirmed that there is a definite need for pauses in the presentation of close up (as well) in order for the audience to digest the premise, then the actions and finally the effects. Great advice and nice visual ilustrations of a precious point. Thks Whit for clearly underlining how magic is a form of dialogue where we need the spectators' imagination for it to work and that should they get confused or overwhelmed, their imagination is turned off and the magic dies. Pauses is a great rule rarely underlined. Could we go as far as saying that the management of pauses may bring improvements not only in showmanship terms but also in misdirection (naturally I'm very inclined to confirm it).
Are there other "rules" one could think of, which may slightly differentiate close up performances from parlour or stage ones?
Magic is the art of emotionally sharing live impossible situations
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kregg Inner circle 1950 Posts |
I think it's important to create a frame when doing close up. Inexperienced performers use space ineffectively, they also tend to drop the work below the waist (hiding their face), especially when one is doing table work. Whenever possible try to get your face in the frame.
POOF!
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Alan Wheeler Inner circle Posting since 2002 with 2038 Posts |
Might I suggest the rule that--unless it is a formal close-up show that the participants attend by their own volition--we should get the permission of the audience to perform, at least implicitly? I vaugly recall a rule from _Stars of Magic_: Do not perform unless requested to do so three times!
The views and comments expressed on this post may be mere speculation and are not necessarily the opinions, values, or beliefs of Alan Wheeler.
A BLENDED PATH Christian Reflections on Tarot Word Crimes Technology and Faith........Bad Religion |
Patrick Differ Inner circle 1540 Posts |
I started videotaping myself as part of my rehearsals waaay back in the early 90's. VHS video cameras were bulky and heavy. The first time I watched myself, I almost cried, I was so bad. The video camera was the spectator's eye and it caught every mistake I made, and I made a LOT. These early experiences taught me a lot of things. Like Kregg said, one of the things I learned really quick was to limit the visual frame of what I do. I learned to not go out of the frame.
So if I throw in a "rule" for presenting close up, I'll submit that videotaping the rehersals and the performances for later analysis is an absolute must.
Will you walk into my parlour? said the Spider to the Fly,
Tis the prettiest little parlour that ever you did spy; The way into my parlour is up a winding stair, And I've a many curious things to show when you are there. Oh no, no, said the little Fly, to ask me is in vain, For who goes up your winding stair -can ne'er come down again. |
Mick Ayres Special user Hilton Head Island 998 Posts |
Quote:
On 2008-09-02 10:12, Lawrence O wrote: Yes. All five are listed at the bottom of this post. Best, Mick
THE FIVE OBLIGATIONS OF CONJURING: Study. Practice. Script. Rehearse. Perform. Drop one and you're done.
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Whit Haydn V.I.P. 5449 Posts |
Creating and maintaining a frame for the spectators to watch is very important. Things that go out of frame can destroy an effect.
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Patrick Differ Inner circle 1540 Posts |
I'm a huge fan of Alex Elmsley's work. His tricks and sleights, especially the Elmsley Count, really jive with me. I wish I could do his tricks all day and all night.
But I can't. Repeating the same sleight over and over is bad luck.
Will you walk into my parlour? said the Spider to the Fly,
Tis the prettiest little parlour that ever you did spy; The way into my parlour is up a winding stair, And I've a many curious things to show when you are there. Oh no, no, said the little Fly, to ask me is in vain, For who goes up your winding stair -can ne'er come down again. |
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