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msc455magic Inner circle Taipei, Taiwan 1523 Posts |
What do you do to build up the magical climax of a routine. Let's take for example triumph. The climax of the routine is when you wave your hands over the deck or mumble a spell (ie: abracadabra) and say that the cards will turn over except the selection. I figured out that I need a more dramatic way than climax I mentioned. So what do you do during these moments?
Thanks, msc455magic
Magic of Japan:
http://www.youtube.com/watch?v=tks9xf13Pqs |
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Hideo Kato Inner circle Tokyo 5649 Posts |
Quote:
On 2005-08-27 00:37, msc455magic wrote: "the cards will turn over except the selection", this explanation is difficult for audience to understand, and would decrease the impact of the effect. Give a magical gesture and Ribbon Spread the cards. Maybe "Watch!" is enough. Hideo Kato |
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Magicmaven Inner circle 1235 Posts |
Skinner was an expert at this. As discussed in Carney's book Secrets, Skinnner would pause for about 5 seconds before revealing the amazing climax. This built suspense, and focussed attention, besides letting people know that whatever happens in the next 10 seconds, IS amazing whether they think it is or not.
Might want to look into something like that.
rmaxgoodwin.com
https://rmaxgoodwin.com/ |
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Ragiv New user Prince George, BC 95 Posts |
I agree with Hideo Kato and Magicmavin. Never explain what you are going to do before you do it, unless you have already completed the necessary moves. Try not to use cliched magic words, and wait to build suspense before your turn over. Remember that you have just jumbled all the cards together, so act as if you messed up.
There's a suggestion.
Jodie - SOCTV
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scorch Inner circle 1480 Posts |
Quote:
On 2005-08-27 00:37, msc455magic wrote: No, that's not the climax. That's the moment when you are merely falling back on old habits. If you want to know how to make your magic stronger, try to come up with a presentation that does not use the gestures or incantations, which tend to not go over very well with modern audiences. Let the strength of the effect create the magic in the spectator's mind, not the silly hocus pocus. Instead, really clarify what is going on for your audience to emphasize the impossibility, and use dramatic pauses, your gaze, and SILENCE as your "magical gestures" (or at least give it a try). Only use magical gestures when it is absolutely necessary and a deliberate choice on your part, not simply because that's how you learned the trick, and that's how you assume magic is supposed to be done. And if you do them, don't use the old, tired cliches - snapping your fingers, waving your hands, etc. "Mumble a spell?" "Abracadabra?" Man you are old school....are you doing a lot of kiddie shows?... ;-) |
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Sam Tabar Inner circle Austin, Texas 1050 Posts |
I try to build the climax of my routines by trying to pace myself. I do this by occasionally pausing to let the effects sink in to the spectators.
"Knowledge comes from finding the answers, but understanding what the answers mean is what brings wisdom." - Anonymous
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funny_gecko Elite user 436 Posts |
Mumble some ancient sounding spell not Abracadabra crap** Also close your eyes and do like a prayer thing, do whatever you feel you would if the magic were real.. make it real..
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Tielie Special user 749 Posts |
Wait... Whenever "the magic" happens, there should be a pause. Increases the effect 100%, if not more.
Deal cards, not drugs!
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mc_magi Special user Vancouver, BC 949 Posts |
Hm.
I have this really "clumsy" persona as a magician (at least when I'm working with people that I have never performed before.) Its not from being shy, but its a persona chosen on my part. Right before my revelations, I usually just make it look like I'm trying to explain something, after few seconds. I act as I cant explain myself what happened, and just reveal it to them. It works very well for me. |
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msc455magic Inner circle Taipei, Taiwan 1523 Posts |
Quote:
On 2005-08-27 11:23, scorch wrote: I think you misunderstood me =D. I was referring to what some people would do during the moment of climax. What I usually do is snap my fingers (for faster going tricks) and use moment of silence for routined effects such as triumph. From what I heard, it seems like silence is the key that builds up the "moment." I, however, find it odd sometimes to go through a part during a trick without saying a word. It may be me, but I guess there are other alternatives. Thanks a lot for the above comments! I would like to know more if you have more! msc455magic
Magic of Japan:
http://www.youtube.com/watch?v=tks9xf13Pqs |
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Tom Cutts Staff Northern CA 5925 Posts |
Communcation is not only verbal. Learn to communicate more with your actions, your gaze, your posture, your pacing, etc. A good source for this is acting classes. Or you could pay a director to give you ideas about where to add these things.
Cheers, Tom |
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Jonathan Townsend Eternal Order Ossining, NY 27297 Posts |
You are playing the part of someone who has access to some aspects of magic.
Take a moment and ask your character how they know when the magic has worked. Method time.
...to all the coins I've dropped here
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scorch Inner circle 1480 Posts |
Quote:
No, I understood you perfectly, though I was commenting on something that was a bit tangential. During the moment of climax, I think it is absolutely weak to use the old, tired cliches (finger snapping, hocus pocus, etc.). Try to structure your routines so that you will not use the cliches, unless you are doing it for the sake of irony or self-depracation. Snapping your fingers or waving a magic wand will inevitably weaken whatever you do, unless you're performing for children. |
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Michael Baker Eternal Order Near a river in the Midwest 11172 Posts |
Quote:
On 2005-08-28 12:29, Jonathan Townsend wrote: Jonathan, you are absolutely correct!! There have been several good possibilities exampled on how to strengthen the climax of the mentioned trick, but only you had the great observance to know that whatever is done is dictated by the character. It seems that some magicians have the belief that their rendition of the magical character is the one we've all been waiting for.
~michael baker
The Magic Company |
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Patrick Differ Inner circle 1540 Posts |
There are two Magic Moments on the timeline.
1. When the magician informs the spectators that magic is happening. 2. When the spectators themselves realize that magic is happening. #1 is what I learned to be the Magic Moment. It is when the magician indicates that something magical has happened. A pause, an incantation, a word, a gesture, etc. You can strengthen this moment by making absolutely sure that it is done perfectly within character. Anything delivered out of character will appear contrived and weaken the effect. Whatever your character would do to convey this information is the right way to go. This can become a "trademark" action. "Sim...Salla Bim!" One of my favorites, because it is so in-tune with my character in close-up is when the magi passes the shadow of his hand over the props, and says that this is when the magic is happening. I really like this method, but I don't use it. It isn't perfect for my character. #2 is what I learned as the Climax. This is when the spectators realize that magic is happening, or has just happened. To strengthen this moment, follow the rules of good theater. End on the climax. Don't interrupt the climax. Don't follow a climax with a weaker climax (anti-climax). Let the spectators catch their breath after the climax; maybe they'll want to do it again! How much time to allow between these two moments? I'm of the belief that it should be the least amount of time possible, lest one loses their thrill.
Will you walk into my parlour? said the Spider to the Fly,
Tis the prettiest little parlour that ever you did spy; The way into my parlour is up a winding stair, And I've a many curious things to show when you are there. Oh no, no, said the little Fly, to ask me is in vain, For who goes up your winding stair -can ne'er come down again. |
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Michael Baker Eternal Order Near a river in the Midwest 11172 Posts |
Very good, Patrick! In the case of Triumph, I have seen the climax handled two distinctly different ways:
1) The cards are revealed unmixed and face down, with one card, the selection, face up. Two occurrences must be processed simultaneously, although neither are too difficult to comprehend. 2) The cards are revealed unmixed and face UP, with one card, unknown for the moment, face down. This later is verified to be the chosen card. There is anticipation before the ending of the trick, because that ending is foreshadowed by the events that lead up to it, but is the verification of the card the true climax? There is a similar thread occurring here: http://www.themagiccafe.com/forums/viewt......7&13 I think that we may be exploring the possibility where the hard line between black and white becomes grayed. There are exceptions to every rule. As for the Magic Moment as Patrick defines, not only is he absolutely correct, the manner or method used is such a personal thing that for any style to be considered archaic to the point of obsolescence is arrogantly out of order.
~michael baker
The Magic Company |
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Patrick Differ Inner circle 1540 Posts |
Michael's addition to this topic and its reference to the Suspense topic got me thinking about something. The two points in time are when the magician says the magic is happening and when the spectators realize magic is happening. I stated that these two points should be routined close together...that too much time between them is dangerous, lest the thrill is lost.
When he related this topic to the Suspense topic, I started rethinking the actual time between these two moments, and I asked myself what is really happening in the spectators' minds. I think that it is in this is the time we could really find out how much suspense can be built up, and maybe it isn't always a good idea to routine these two points too close together, lest we kill the suspense. Neat stuff.
Will you walk into my parlour? said the Spider to the Fly,
Tis the prettiest little parlour that ever you did spy; The way into my parlour is up a winding stair, And I've a many curious things to show when you are there. Oh no, no, said the little Fly, to ask me is in vain, For who goes up your winding stair -can ne'er come down again. |
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Michael Baker Eternal Order Near a river in the Midwest 11172 Posts |
One thing to consider is the issue of foreshadowing, as I mentioned earlier. Suspense, can be created when the audience suspects something will happen. Horror movies make frequent use of this ploy. The release in those cases is usually that the firecracker is a dud, and the audience relaxes, providing the perfect point for the monster to jump out. This makes use of the surprise factor. The tension is still high, but is on the wane, when the surprise happens. This causes the excitement to instantly peak again.
Suspense can also be created when the audience is anticipating a suspected outcome that is delayed. The release comes when the expected finish is satisfied. It is a softer finish, but no less gratifying.
~michael baker
The Magic Company |
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kregg Inner circle 1950 Posts |
Jeff McBride once explained drama as tension and release.
To elaborate, if I stretch a rubber band and aim it at you, it creates tension between us. I can release the rubber band slowly or shot it at you! Drama is in everything leading up to the climax. Give/take, yin/yang, positive or negative. Remember, it is also important not to over hype a climax... unless it can live up to the event.
POOF!
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Michael Baker Eternal Order Near a river in the Midwest 11172 Posts |
I once heard McBride say while other magicians are working to "blow away" their audiences, he is trying draw them in. I think that was a very profound point of view, and it forced me to re-examine my own magic.
~michael baker
The Magic Company |
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