Hey guys,

this is a question I would really like to get some answers. I used to practice it with my wife, but she's not really into magic/mentalism and doesn't like it that much, so it's more like I perform two effects and that's it for the day. Mentalism is all about performance and you can't practice that in front of the mirror and increase some sleight of hand, so it's difficult for me to have a good feeling about it after that less practice. Do you have any ideas? Of course, one aspect is script writing and so on, but I really mean practicing the performance.

Cheers
Daniel

Daniel:

My wife and your wife may be cousins. Actually, your whole family and your friends know you well enough and too know you possess NO magical powers. From my modest experience, three suggestions come to mind.

1. Go over and over each effect in your mind.
2. Practice any moves your effects rely on, until they are second nature.
3. If at all possible, find an audience that welcomes hobbyist performer. Senior centers are worth checking out.

George

Thanks George.

I don't see a problem performing for practical reasons for friends and family. I also don't want somebody to think that I have "magical powers", or what did you mean? I don't think that this is the reason somebody isn't interested in magic or mentalism.

I do go over my effects in my mind. But knowing what to do and dealing with spectators are two different things in my opinion. When I perform for more people, I'd like to have some sort of safety, like knowing that I performed it the last - let's say - five days for family and friends and it went very well. And when it goes to the scripts I use, I think they improve while I am performing. A script that is good in my mind, might not work so well in the real world - because people are different then they suppose to be in my mind. And you get some input you haven't thought about.

Daniel,
I think George shares the same perspective as recently discussed in Mentalism for Friends and Family?.
You can find some more advice in Practicing mentalism?
Best Wishes,
Jester

Thank you Jester for the links.

Daniel:

Read Richard Osterlind’s Principles of Mentalism on claims, disclaimers, etc.

I neither claim or disclaim anything. When the audience experiences what might be telepathy, clairvoyance, precognition, or telekinesis, you want them thinking there MIGHT be something to this. Your family and buddies know you to well to suspend disbelief.

George

In regards to disclaimers, I do what clairvoyant mediums have to do in my country. I state in a serious tone that I am legally obliged to tell you that everything you see is for entertainment purpose only. Then merrily get on with show. That really gets them thinking!

Practicing mentalism requires and audience, there are no work-arounds. You can prepare your script and choreography alone, but going in front of an audience is a necessity. On that occasion, film yourself. I use my camera and two smartphones (my current one and an old one) on tripods.

Remember that, contrarily to what some magicians coming to mentalism believe, you must do your best to make your audience you have special powers. It doesn't matter whether those powers are supernatural, such as Uri Geller's, or an extreme talent at reading body language, like Derren Brown, but you MUST act as if you (your character) are doing real things and not tricks.

In that respect, friends and family, who know you can't read minds, or couldn't not so long ago, are a very difficult audience. It will be more difficult to "take them in" whetever theme you set up.

But the good thing is, they are difficult, they are a "crash-test" audience: any flaw in your show, they will find, which means you have to be sharp!

One problem when performing for friends and family, or for fellow "magicians", is tha, knowing our audience "doesn't believe", we don't bother to be convincing and usually focus on hiding the method.

THAT'S A MISTAKE! Firstly, it deprives your audience of the nice experince you could provide them with, that nice experience you would give to a paying audience. Why be nicer to strangers than to your kin?
Secondly, it is missing the opportunity of practicing in front of a demanding audience -but one that will still love you afterwards.

So, go in front of your friends and family trying to be even more convincing that if you were facing a "real" audience. Don't be offset by the "I kow how you did it" or moking laughs that will come when you first say "I'm going to read your mind". Keep on going, don't respond, don't justify yourself! Smile, keep going. That will eventually make them understand they shoud allow their "suspension of disbelief" to kick in and enjoy the "theatrical play" you are performing for them.

It helps to kow you are filming your performance and should hence remain serious about it. It also helps if you know you are being watched by someone you asked to help you. And that the best situation if it is possible: a "director" who will comment on your performance, and maybe review the videos with you.

Cervier:

Thanks for your very useful reflection.

George

There is no way you can practice the actual effect without strangers being a part of it. (Life would be MUCH easier if that weren't the case.) The issue with mentalism is that, unlike magic, the spectator is an integral part of the equation. They have a huge impact on how the effect comes off -- and even how it's performed. You don't get that with family...or friends. Mentalism is about the whole package: you AND the spectator, an audience that doesn't necessarily like you...and the effect.

There are some things you can do. I offer the following with respect...and hope it may be helpful.

1) I went full-time on May 3rd 1990. It was a close up show and at that time an effect called "Cardtoon" was popular. The spectator picked a card...the card went back into the deck and, as you riffled through the deck a little stick man was shown like a stop action film. He reaches into his hat and pulls out the card the audience member had chosen. I'd practised that effect until it was perfect and I performed it perfectly. I looked over at an adjoining table and there was another magician doing the same effect I was doing...the exact same way. It was a revelation: in that second I realized that if I continued on this course the very best I could aspire to was to be doing the same effect all the other magicians were doing...the same way they were doing them.

So my first piece of advice about practising mentalism is that you throw away the established patter...whatever presentational notes the creator gives and try to see the prop/effect in a new way through new eyes. Examine it...THEN start designing the routine you're going to use.

2) As you work with the prop or method on your own really try to anticipate what various volunteers are going to do when you present it. What will a confrontational male do? Someone who has had too much to drink? What if they don't understand your instructions? Try to anticipate EVERY POSSIBLE reaction and work through how you are going to handle it.

3) Actually perform the effect by yourself. Go through the motions...don't just think about it. Do it. You may be surprised at an unanticipated difficulty.

4) When you have a presentation you're happy with write it down. I have a file of every effect I do and it's in constant evolution. Having these things written down makes it much easier if you have to go back and work on them after you've shelved them for a while. That file can also be really useful if you come up with a line or a piece of business you want to remember for later.

5) THEN take your script and break it into an outline: What am I doing here? What is the purpose of this section? It's much easier to perform that thing from an outline than a memorized script. Outlines are important because they help keep you on track...but they also allow you to depart from what you'd planned if something more interesting is suggested by a volunteer. This happens all the time in mentalism. Being able to depart from what you have planned can lead to some wonderful or powerful moments.

6) When you think you've got it ready to show actual people, I strongly recommend you work it into a close-up performance. Don't do it on stage. It's much better to do something that winds up sucking in front of a small group. As you perform it, watch the spectators...try to find the places where their attention wanders and when they are paying careful attention. What areas did it feel GOOD to perform? Were there places where it needs work?

7) When you get home revise your notes on the effect. Keep working with the effect in close up until you feel it's ready for stage. When you DO put it into your show, I suggest sandwiching it between two solid effects. That way, if it's not as strong as you'd hoped it would be, the impact on your show will be minimal.

8) When you get home? Make more notes. After this it's just 'rinse and repeat' until you have a routine you are happy with.

I hope this helps, dvno.

David

Where ever I am and have an audience. The airport waiting for a plane, standing in a line, etc. I try out new and perfect some of my old mentalism routines.

It depends on the type of performance. If it's an addition to my strolling act I perform whenever I meet new people (which is quite often). Otherwise, if I decide to change something to my act, I gather a few dozens of people and perform as if I'm on a stage. I then invite people to share a drink and to tell me what they thought about the act, what they would change, what they don't like, etc.

Florian Severin discusses this very issue in his book "What Lies inside", btw

Wow, thank you all so much! That was really really helpful! I got so much input from that!

Great point Cervier.

A supporting and interesting insight from either Barry or Stuart of “Barry & Stuart” fame (which I cannot recall), stated that the most successful mentalists and magicians do this on some level (work to play it real while on stage). He makes these case that none of them perform with a proverbial “wink”. Even the magicians play it real like David Blaine or David Copperfield. David by appearing mysteriously sullen and David by moving his hands and with an inner belief (conviction) that It is real. He mentioned that this was an “invisible ceiling” (my words) because ultimately audiences want you to make them believe on some level. Interesting thoughts.

This is great.