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Jeff Dial Special user Kent, WA 533 Posts |
Quote:
On 2010-05-07 14:40, Frank Starsini wrote: Frank you also mentioned the different handling issues with sponge balls. A couple work arounds. Tommy Wonder had a Billiard Ball routine that involved gaffed rubber balls with weights to give the auditory illusion they were solid. Same concept. How about C&B balls gaffed with magnets off center in the core with a sheet of steel under the cloth cover of the table. Monkey Fist balls with a cork core would be great as they naturally tend to bump to a stop anyway.
"Think our brains must be too highly trained, Majikthise" HHGG
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cupsandballsmagic Inner circle 2705 Posts |
Quote:
Tommy Wonder had a Billiard Ball routine that involved gaffed rubber balls with weights to give the auditory illusion they were solid. Same concept. Tommy's actual ballsfor that appeared on the multi coloured auction site last week... |
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Lawrence O Inner circle French Riviera 6811 Posts |
In 1932, Will Blyth published in the Sphinx over Vol 33 N°2, 3 and 5 his stage routine called the Cups and Cubes. He was already suggesting, as Bill Palmer wisely does, using a slanted working surface to offer the audience a better view over the effects.
His solution for preventing the balls to roll all over the place was, as the routine's name indicates, to use sponge cubes. I remember that the routine stroke me as using a very consistent series of effects and was really worth looking at. I don't remember if Will Blyth was using the inner elevated part of the working surface to supply a servante, but if he didn't it would make it worth looking again at Slydini's misdirection for "lapping" and his Imp-Pass for developing new moves for ditching and stealing: body language, body weight displacement, feet movements and orientations work... every area of the C&Bs art where Antonio Romero is the unarguable king. The need to use larger movements on stage also allows using sleights which may be more difficult to put in play in a close up routine: for example in 1932 R. M. Jamison used a shuttle pass (before the concept and the name were independently published and brilliantly promoted by David Roth for coin work). The Vernon Changeover Palm (I love this extremely deceptive sleight performed from the finger palm instead of the classic palm) enables persuading any audience that the hands hold only one ball when they actually conceal an extra one (and supply a secret hand transfer). Combining the Shuttle Pass with the Changeover Palm is a killer combo, certainly for stage (and to a large extent for close up).
Magic is the art of emotionally sharing live impossible situations
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