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rklew64 Inner circle 1265 Posts |
FINALLY!, an outstanding topic that has real significance.
Thank you! It's funny that one would almost have to overindulge in magic props/gimmicks/sleights to realize and hopefully arrive at this point that less is more. Again Thank you and hope to see more topics like this that go beyond the toys and books and dvds. |
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mjanes New user Gig Harbor, WA 66 Posts |
I have been practicing magic for 50 years and more.
In the past few years I've finally begun to understand what it's all about. It's not the sneaky moves and mechanics; they are simply a tool, and well worth mastering, as any craftsman masters the tools, as a virtuoso musician masters his/her instrument. Look at Fred Kaps, or Dai Vernon, or for that matter Fred Astaire and Ginger Rogers, or Danny Kaye, Victor Borge, etc. They show not only mastery of their craft (the mechanics), but a huge, overflowing measure of grace, elegance, sparkle, charm, relaxed elan, etc., etc. If it's true that "What people will remember is not what you did (the cool moves and miracles), but how you made them feel," then we do well to pay attention to things like being very clear about what our purposes are, our pace, our warmth, our sincerity, our interest in them (not us), our relationship, our timing, our humor, our focus, our patter, our character.... I strongly encourage you to pick up a copy of Whit Haydn's "Chicago Surprise," the best card effect I have experienced. In his treatise, he offers his philosophy on magic: what it is, its why's, what-if's, etc. Then purchase any of his early instructional DVD's, such as Comedy Linking Rings, Mongolian Pop Knot, or Teleportation Device. Why? When you watch him perform as a younger professional, then compare these early performances to his current renditions of the same effect, you will enter into a rarefied arena of learning. The mechanics and devices are all the same. And they are just tools. The performance differences are "Night and Day" different. Both are good: early, and late. Then and now. Now, as a multi-award-winning and dearly prized professional, Whit offers us good examples of masterpieces. I must quickly add that there are many like him, far too many to name. All of the greats have achieved their place through the same, countless hours of uncelebrated, unnoticed and painstaking practice. I have taken to Whit because his work involves so much warmth and humor, and in my approach to entertainment what he offers harmonizes with what I wish to offer. So back to the "night and day" difference. What does this mean? In his current, mature and experienced mode, his whole style appears, at least to me, to be more classy, unhurried, filled with subtle touches of classy, artistic skill. Especially his facial expression, but also his body movement, pauses, willingness to relax, be goofy, or push his character (the authoritative teacher) for humorous effect. There is much to be learned and emulated here. Things related to theater, to presentation. Watch 20 practitioners do the same effect, and you will soon begin to discriminate which ones have really touched you, moved you, tickled you, and really created true wonder. You will have a whole new appreciation for the importance of patter; and, especially, the importance of being clear about what you are trying to accomplish with every detail of a piece. The garbage and fluff will begin to get cut and set aside. The core stuff will stand out. Most of all, have fun. Don't hurry. Delight in what you are doing. Don't get caught in the trap of trying to impress people. Just try to help them see how marvelous a given effect can be. If you are not a little dazzled and filled with some enjoyment and wonder in the created effect, you might just still have room for improvement in your approach. I'm still practicing, still learning. It's fun, humbling, and wonderful. |
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jakubr Veteran user 326 Posts |
I like this comparing magic to music. I actually started with music before magic. And I learned it, by picking songs I liked, and learning or 'mechanics' that were necessery. Every new song would make me learn some new technics. And the same time I really enoyed my learning, as these were songs I really liked.
Few yers later, when I started with magic, it was quiet similar. I've picked tricks, I really liked, and started learning them. Although it was good motivation to start learning sleights, I'm not sure if I would begin my journey with magic the same way today. I personaly think, that the best way is to start by learning classic tricks. Many of them are not that difficult, and proved to be good ones. And if you do a good research on certain trick, you can find method, that will be the best for your skill level (and you will also now, what/whether you will learn some new sleights). |
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LeMagicien61 New user 12 Posts |
I agree with "rklew64" Less is more. Where to find more posts like this topic?
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jpleddington Loyal user Lewisburg, PA 294 Posts |
Practicing sleights is, for me, great fun. But what's more fun is exercising the ability to put it all together in a thoughtful and well-scripted presentation.
Sleights without presentation is (at best) just a trick. Presentation without the technical competence to allow the spectator to remain focused on the presentation is simply painful to watch. And even self-working effects require practiced handling. Jason
philosophy & magic
www.jasonleddington.net |
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Mase New user 6 Posts |
As a new starter can I just say thanks to everyone involved in this topic some brilliant advice for someone like me.
Thanks |
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The Great Heathini New user Virginia 29 Posts |
I am a firm believer in sleight-of-hand magic and that good books are a must!
The two books that that really helped me were; 1."The Magic Book" by Harry Lorayne 2."Learn Magic" by Henery Hay I am not sure if they are still in print, but I consider them to be excellent books and would consider them MUST HAVES for those interested in learning the art of sleight-of-hand. |
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The Great Heathini New user Virginia 29 Posts |
I just checked and both of the above books are available from Amazon.com
Hope this is of help, Brent. |
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