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Michael Rubinstein V.I.P. 4665 Posts |
There is a trend in coin magic to perform small effects. A coin vanish. A production/vanish of 3 coins. This is like a throwback to the older days when someone would just do a quick trick. David Roth recognized the need to extend the magic by creating longer effects. One way was to introduce props into the routine, and he created magic theatre by doing so. He also would perform sets, so that it wasn't one and done. Or if he performed a routine of one effect, it was "meaty"...it lasted longer than a simple "here's a coin, now it's gone."
So my queation, is how YOU think about your magic. Do you try to extend it? And if so, how? For myself, in addition to what I just mentioned, I find that the patter really helps in turning a quickie into a longer effect.
S.E.M. (The Sun, the Moon, and the Earth) is a sun and moon routine unlike any other. Limited to 100 sets, here is the promo:
https://youtu.be/aFuAWCNEuOI?si=ZdDUNV8lUPWvtOcL $325 ppd USA (Shipping extra outside of USA). If interested, shoot me an email for ordering information at rubinsteindvm@aol.com |
Dougini Inner circle The Beautiful State Of Maine 7130 Posts |
I apply what I learned from Walt's book, "Tales Of Enchantment: The Art Of Magic". The Story sells it!
Doug |
funsway Inner circle old things in new ways - new things in old ways 9982 Posts |
In the late 50's I was mentored to always provide a series of linked effects for any performance, so
I guess I missed the old days when someone would just do a quick trick. Often the first effect is just to insure attention and appreciation for the next two. Story based CSB, five phase Okito box, CCC segue into Coins Across and ring on string, Alchemy Coins come to mind My favorite approach is having basket of assorted small objects: coins of various size and color, ring, nuts, pebbles, etc. A spectator selects an object and I perform with it, possibly selecting other to match to contrast, "A copper English Penny, Great! See if there is a silver coin about the same size ..." Then another spectator and a different object and effect. I would usually quit at four effects, but at a later performance different objects might be selected. Naturally, I had various gaff to switch in. Surprisingly, only about six sleights/techniques are required for a hundred different presentations that all seem different to observers when the a story and objects change. I never thought of "extending" a short effect, but will try and run with that theme. Most obvious is producing the four coins needed for Across or Thru the Table. Next one might use a prop that becomes part of a follow up effect or several - your Rattle purse, for example. Dump out mixed coins and set it aside, do C/S and 3-fly, then find a coin missing. Shift to the purse for a 2 here 1 there type effect, etc. Even if one is asked to perform "just one effect" you should always be prepared for a linked follow-up or segue as "expansion." I am very glad you posted this if newbies are drawn to think "one trick" is normal or a good plan.
"the more one pretends at magic, the more awe and wonder will be found in real life." Arnold Furst
eBooks at https://www.lybrary.com/ken-muller-m-579928.html questions at ken@eversway.com |
Michael Rubinstein V.I.P. 4665 Posts |
I really like the idea of the spectator choosing the props. It makes it seem like the performance is truely impromptu! Sounds like you can work out a whole set on just that premise!
S.E.M. (The Sun, the Moon, and the Earth) is a sun and moon routine unlike any other. Limited to 100 sets, here is the promo:
https://youtu.be/aFuAWCNEuOI?si=ZdDUNV8lUPWvtOcL $325 ppd USA (Shipping extra outside of USA). If interested, shoot me an email for ordering information at rubinsteindvm@aol.com |
simplymagicweb Inner circle Norfolk, UK 1410 Posts |
Good question Michael - I think it depends where you perform. For me, I’m a working pro and so I’m working mainly mix and mingle and around tables. You have a relatively short time with a spectator or group and therefore the effects need to be short, sharp and punchy. However, for my stand up/theatre set, longer effects can be introduced (I have a camera focused on a close up pad to project to the audience).
David’s formal longer routines all are performed seated with a close up mat. They are works of art and timeless classics for magicians. He is my hero and the reason I love coin magic. Sadly though, I don’t perform seated or with a close up mat but for those that do, David’s routines are beautiful.
Magically,
Website - www.simplymagic.co.uk Twitter - www.twitter.com/simplymagic19 Facebook - www.facebook.com/SeanGoodmanMagician Creator of BDZ, Holidayz, The Grayle, DUO, Secret Servante, Genetics, Vision, Tick Tock, Starstruck, CelebriDate, MagiDate, Focus, SIGMA and R2R |
Zauberman Veteran user 314 Posts |
I think the difference is if you want to do a Trick, a Routine, or a Show.
These depend on your audience, environment and how good you are to an extent. And sometimes you want to milk a trick for all it's worth |
Michael Rubinstein V.I.P. 4665 Posts |
Many of David's classic routines can also be performed standing. His portable Hole routine can be found as a stand up routine in his book, while a stand up version of the Purse and Glass is in my own book. Others have figured out ways to do other showpieces as stand up versions.
Certainly the type of set you are doing will dictate the length of each performance, and walkaround will require a faster set. I guess I am thinking about ways to make a trick more "meaty", so the magic can be extended. Maybe a trick with 4 coins instead of 3. Maybe adding engaging patter and as Zauberman says, "to milk it for all its worth." Or adding on to a routine to give it added phases.
S.E.M. (The Sun, the Moon, and the Earth) is a sun and moon routine unlike any other. Limited to 100 sets, here is the promo:
https://youtu.be/aFuAWCNEuOI?si=ZdDUNV8lUPWvtOcL $325 ppd USA (Shipping extra outside of USA). If interested, shoot me an email for ordering information at rubinsteindvm@aol.com |
Mitchael New user 39 Posts |
What's true today is true, what's true tomorrow is equally true even if it is different. I feel my self being pulled away from effects for effects sake, and instead being drawn to effects for performance sake. It is entertaining to perform magical effects, just not as entertaining as bringing your spectators on a journey, having meaning, a point, a why. Without writing a book on the subject I will just briefly describe what I see as the major aspects of the transition from being a sleight of hand artist to entertainer are to me. 1. Being a sleight of hand master does not make people like you. 2. If people like you, being a sleight of hand artist does not make them not like you. 3. Once you demonstrate the ability to vanish, teleport, transform, produce, and warp reality, subsequent demonstrations of the same begin to seem like showing off. 4. People don't care as much about coins as they do life. Thus my journey has been to discover all the ways I can use coins as metaphors, as stand in representations of things that people care about. The easiest theme for sleight of hand with coins is Time Travel.
I have here a US Silver Dollar and a Chinese Coin. Which would you like to see back in the Stone age? The Chinese Coin? Alright I put the US Silver Dollar in my pocket, and lets focus on that Chinese Coin. As I say the following line I perform a spellbound change to a similar size rock..... "Sir or Madam you don't have any particular reason for wanting to see the Chinese back in the Stone Age do you?" When the transformation is revealed I reinterpret what happened. THE COIN DIDN'T VANISH. There were no coins in the Stone Age only rocks. This is a one dollar rock. Due to inflation it currently is worth 1 dollar and 12 cents. |
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