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DarryltheWizard Loyal user 238 Posts |
It really doesn't matter if you're young or old, we've all forgotten a storyline or a one-liner during the course of a routine.
Of course, if you regularly perform a routine, the lines seem to come naturally; however, if you work locally and do a lot of repeat shows, you have to vary part of the show, and that means learning a lot of new effects. Some things I do are: On the handles of my knives , I have typed and laminated the gags. If I go blank or I'm distracted, I've got a better handle on the gag. (just for Peter line) Sometimes I use key words on a patter outline-words that give the order of the story or the gags build from the least funny to the most hilarious. For some of my kid shows I put Sam Lord's Castle Story on tape complete with music and sound effects. This enables me to direct the child helpers better and concentrate more on the effect. When I do my daily walk , I recite older patter routines I haven't done for a while and I try to visualize what I'm doing with the prop as I say each line. After I learn new patter routines , I tape them and listen to them while I drive to work. It helps. I also videotape patter routines to see if the words and actions are syncronized and the pace is comfortable for a particular audience. I sometimes use memory tricks to help me like K.I.S.S. keep it simple stupid. I use this if there's a list in a particular order. ( like the mental card effect "David Lovel in yon abbey) When I do Miser's Dream , I have visual signposts that tell me where the next gag, the next coin is coming from hair, ear, mouth, collar, tie , armpit , pocket, in pocket a gun, giant coin with hole. It's kind of a top to bottom signpost. What are the ways you have found useful for learning your patter stories and routines? Darryl the Forgetful Wizard
DarryltheWizard
"Life without mystery is like a candle with a snuffed out flame." Albert Einstein |
Stephen Long Inner circle 1481 Posts |
Other magicians may spurn me for what I am about to say.
So be it. I let the audience give my effects their presentation. By this, I don't mean that my effects have no structure to them, I just mean that I have very few (if any) set lines or gags. I let the audience give as much input into the effects as I can. Often I will pretend to search for a phrase to fit the moment -- the space I leave in my presentation at moments like these the audience really seem to enjoy filling. I gesture to them to help me out with whichever analogy I am searching for, and regardless of how they "fill in the blank", so to speak, I'll run with their suggestion and incorporate it into the presentation. Now don't get me wrong. I have a skeleton over which I hang this spontaneity. The reason I perform like this is because I am scared that my performances will start becoming stale for me (which I am almost certain they would) and I will stop enjoying what I do; I'm scared that I'll fall into the rut of magic becoming little more than force of habit. If I don't enjoy what I do then I can hardly expect my audience to. By performing the way I do, I ensure (or at least try to) that each performance will be fresh, will be unique and different to the last. It also gives me a lot more from performing. I enjoy it more when there is more banter between the audience and me -- it establishes a relationship in which the magic is not all about me. It is about us sharing a moment. There. I've said my bit and taken a very long-winded way to answer Darryl's original question. How do I remember my lines? I don't. Stephen :carrot:
Hello.
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Mike Robbins Elite user Anchorage, Alaska 447 Posts |
I also have "line-less" routines at times, depending on the routine and the audience. Some of my most favorite times in performing have been when I perform "jazz magic", where I go off on ad-libs and improv based upon the audience's reaction.
But I've got to say that I've seen few performers who can do it. Just as I know my limitations with some forms of magic (advanced sleight of hand, large illusions, escapes, etc.), everyone should know where their abilities shine and where they're limited. Performing "jazz" style without the ability is a disaster. As Stephen said, I always have the "skeleton" (in my case I do have a script) to where I can go back to when I need to. Mike
The fool doth think he is wise, but the wise man knows himself to be a fool.
Shakespeare |
Peter Marucci Inner circle 5389 Posts |
Mike Robbins has it dead on, when he says: "But I've got to say that I've seen few performers who can do it (jazz magic)."
Many think they can, and insist on doing it, not because they are any good at it but because they are simply too lazy to learn a script. And, as any good jazz musician will tell you, you have to know the rules before you can break them! I work a reasonably structured act, but with room for spontaneity and whatever the audience pitches my way. It may look casual and loose but only because I've been working on that reaction for decades! But back to Darryl's query about mnemonic devices. Copperfield has a strip of masking tape that runs the width of the stage and has the running order of the show on it in big letters. He and his assistants on stage can see it but the audience can't. cheers, Peter Marucci showtimecol@aol.com |
DarryltheWizard Loyal user 238 Posts |
Peter, I love that strip on the stage idea. In fact, my Magic Club is doing a short silent routine and I've taped the order of the effects onto the stage with clear tape over it. It'll save flipping through papers or looking at little cards.
Darryl the Wizard
DarryltheWizard
"Life without mystery is like a candle with a snuffed out flame." Albert Einstein |
Garrett Nelson Special user 644 Posts |
I have to add these interesting tidbits about the aforementioned David Copperfield.
A trick DC uses is his friend the Teleprompter. I imagine that helps with the lines a lot. I know that isn’t practical for most shows, but I could imagine circumstances where it is at least feasible. As for impromptu….I saw DC at Assembly Hall at the University of Illinois (here in town). It was full of dirty jokes and sexual connotations. I was surprised, to put it mildly. I thought he would have a much “cleaner” act as so many parents bring their children to his shows. I spoke to people who had seen the show elsewhere and they said he didn’t make the same comments. They told me it was all but devoid of offensive material. I guess he was playing to the college crowd. I thought that was a very impressive thing. He really changed the whole feel of his show to fit the audience. |
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