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funsway Inner circle old things in new ways - new things in old ways 9982 Posts |
It is likely that the impact of “Social Distancing” will be with us for some time regardless of any ending to the Covid-19 threat. New habits, fear of some other contagion, table arrangements in restaurants, etc. may influence how we all interact in public. Performance Magic is especially hard hit right now, especially for close-up and parlor effects, but even larger venues can loose the elbow pokes and whispers vital to group dynamics in the appreciation of astonishment. What to do? I will focus thoughts on coin magic effects of the “fairly close” variety, i.e. effects in which the spectator can tell if you hold a copper or silver coin, or the number of coins on your open palm. Many posts on the Café have mentioned various problems of dealing with the problem of loss of spectator physical involvement. Consider:
a) borrowing coins from a spectator supports impromptu “naturalness” and eliminates the need for examination and suspicion of gimmicks or gaffs. b) effects done in the hand of a spectator (other than your hand concept) lead the list of “most impossible” and “most memorable.” Compare a C/S Transpo performed with and without a spectator being involved. Big difference. The ultimate “Vanish to Empty” in a spectator’s hand cannot even be on the list now. c) actions using spectator’s hands as other containers (not your hand concept) is essential for count verification, casual examination or sense of ‘normal’, more visual display, idling a coin(s) for convenience, and ‘random selection’. I am so used to having a spectator select the coins I will use from a tray that I will have to rescript dozens of favorite effects. “I will need three brown coins of the same size. Yes, that English Penny will work, see if there are two more. Great!” d) visibility of action, coin size and distinctive elements like date or color are at risk. Many fine Matrix routines might only seem confusing or require distracting verbal descriptions. Likewise, many ‘fast and furious’ presentations may be lost to distance. Some of these problems can be overcome, but many favorite effects will be “put on the shelf” with regret. Not just coins, but finger rings, dice, candy and more. Then there is the important issue of a spectator was witness. When a close spectator or volunteer assistant handles coin or verifies a count, he/she serves as witness for those further away. Their testament is also trusted beyond that of performer who is admittedly “up to trickery and deceit.” The enthusiasm of such a witness can be infectious to the entire group, or their suspicion or interference destructive. The vital concept of “audience engagement” often translates into the wooing and care of one or two persons close up and personal. Since magic occurs in the mind of each audience member based on perceptions, the role of those witnesses close by the action is critical to success. a) the choice of any volunteer assistant has always been a skill worth developing, including the handling of a wrong choice. Today, the hidden fears of proximity and ‘standing out from peers’ may require rethinking of old methods. I will not be found tossing out a ball to be caught by a giggling crowd and passé around. b) the entire concept of “witness” may change. Will the guy in the back row trust anyone willing to be “that close” to the performer or one who will actually touch a coin? Perhaps the use of small objects in a parlor setting will vanish – not because of visibility, but because of trust issues. Yes, you might still be able to entertain with flourishes and flash, but “where is the magic?” c) the quality of infectious excitement and astonishment is still possible but will have to be managed differently. Game show type dancing and arm flailing is not appropriate in close-up settings, but verbal cries can be coached and encouraged. Yet, I fear that the “current of excitement or anticipation” cannot be the same at a distance. I will have to ponder effect selection and modification, as will each coin worker. I have ‘ring on rope’, C&B and silk routines to fall back on. I will begin work on modifying some coin effects to eliminate direct spectator involvement to share with peers, but … At least I hope these thoughts will help the reader in making some difficult choices. As always, ask “what does my audience expect of magic and me?” What is the story they will tell after of the adventure into astonishment? How can we make them a different kind of witness?
"the more one pretends at magic, the more awe and wonder will be found in real life." Arnold Furst
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