I'm beginning to include some mentalism pieces in my walk-around magic -- and developing a stage show for February 2007 -- and, as I sleight-of-hand guy, I'm having trouble coming up with a system of rehearsal.

With sleight-of-hand, I have a system. I'm used to practicing moves for a few months on my own, then recording them and improving them, then coming up with patter, then sharing them with two peers, then adapting the patter and handling, etc. After 6 months to a year, it's ready for performance, and I know it. It's been road-tested.

WIth mentalism, it seems very difficult to practice without spectators and have any sense of how it's developing. How do you guys practice the non sleight-of-hand aspects of mentalism before sharing it with your audience. And how do you know when it's ready to perform?

Thanks,

I practice as if it were a play.

You script out were the specator will respond and have answers to all they could say.

I then walk a lot and run over the thing in my head.

Then I talk it over with a few other guys.

Then I trot it out informaly for freinds of my freinds.

But some times I just think about it in my head then go do it.

My Deja'Vu Experiment was like that. No way to practice one must just do it.

A leap of faith if you will.

Jack

H.12/O.17 A-X

Ive found that the art of practice first comes in absolutely perfecting any sort of move ar anything that is REQUIRED.

Then write a script and learn in indefinately.

Then go out and perform to people who ARE NOT your freinds and family, and heres the interesting bit, don't use the script you've learnt. This allows for you to realize all the possible problems you could encouter, and helps you to come up with some great lines that happen spur of the moment.

Im at an advantage however, as I'm at a magic shop allot of the time thus being able to practice like this.

The key though is the script which I find is best prepared in the way I mentioned

Jx

I agree, this is the same thing I do. It is very difficult to practice mentalism, as most of it depends on how the spectators respond.

Ibid. Same as above. Script it, practice the script and the mechanics. Keep doing it, try to dry run it with the kids (if I can catch them and tie them down). Then I use my magic club for a live dry run and see what works and what does not.

Tony

All good advice but eventually you have to book some shows. You can't fail is you don't try but you will never shine either!

Write your scripts, practice-practice-practice but...

...the secret to mentalism is that you can entertian family and friends but you have no mojo and no mystique. But when you you perform for strangers you are a MENTALIST.

You got it E and some times one is so good even the top skeptic in the work runs from your challange.

Jack

H.12/O.17 A-X

In addition to all the above (which I do), I break in new material at (of all places) magic club meetings (SAM #3 in Chicago, specifically). It's a safe place, many of the members are fellow performers, and if I mess up, they're sworn to secrecy anyway. Believe me, it helps.

Best,
Neil

Thanks for all the advice. Practicing as if it were a play is part of the challenge. In my theater years, my training was very strict to never pre-rehearse or pre-plan any of the emotional content, or dramatic presentation. That can only be done in rehearsal with your fellow actors. And since in mentalism, your fellow actors are your audience, it seems hard to rehearse before performing, past learning the script and mastering any technical aspects.

I work all the time, so I guess my walk-around mentalism can be worked into some of my gigs, a little at a time, but I have some stage mentalism effects that I'd like to work up, in preparation for my big show next year. Those are the ones I don't understand how to practice, since I don't book any stage shows.

Thanks again for the advice, and keep it coming.

I like Mr.Osterlinds advice that he once gave:(I paraphrase)Perform at some senior centers(not nursing homes)to get a true performance experience.

Rich