Hi everyone,

I was thinking the other day about how we as magicians always say that the magic we perform should be an emotional experience for the audience rather than just a cool trick. As Michael Ammar says, emotional magic is at the top of 'The Hierarchy of Astonishment'. We all seem to talk about this theory quiet often; however something I think nearly all amateur magicians (including myself) need to learn is how to take our effects and routines to 'the next level'. Whether it be packet tricks, sleight of hand, routines or original effects, how does one take these and bump them up to the top of 'The Hierarchy of Astonishment'? Does one need to change their patter, their style, their handling etc? If so, how?

I thought this might be something that would prove not only useful to me but also to all of the amateur magicians that feel they’re lacking that little something.

Any input is greatly appreciated.

Thanks,

Mike J Rogers

A lot of acting theory.

I got mine through a TheaterSports group called BATS. I schooled there for a couple of years and even on occasion under the direct tutelage of TheaterSports creator, Keith Johnstone.

The biggest problem amateurs face, and many pros too, is that they have no idea how to compose a story, tell a story, or even act out a story. They think mindlessly just doing a bunch of tricks has some inherent value to people in their busy lives. Or worse use magic as a vehicle to inflict corny gags and puns upon their audience.

A great book to help your story telling skills is Impro For Storytellers but just like magic, the real learning will come with exercise and live performance. This book will help teach you such valuable lessons as "What is the function of a gag?" Something which clearly, very few magicians really understand.

Cheers,

Tom

One guy who is absolutely wonderful at this is Dr. Jay Ungar. I had the privilege of doing a little magic with him a couple of years ago after a chance meeting in Springfield, Massachusetts...and then again this year at Hank Lee's Cape Cod Conclave. I was thrilled to see one of his presentations published in last month's MUM, which was a poetic interpretation of Jim Pace's "The Web". Dr. Ungar has a wonderful talent for writing audience-hooking patter and crafting real-world emotional magic.

Look for his book, rumored to be in press, entitled "The Schtick is the Trick," coming out soon.

If this is still of interest at this late date: check out the articles at isawthat.com.

Any "raising of the emotional bar" has to come from within the performer.

In other words, canned patter just won't cut it!

I realize this isn't much help -- telling you what NOT to do, rather than what to do, which is what you asked.

However, as a performer said many years ago:

"One way to improve your act, is to watch a good magician and do what he does.

If you can't do that, then watch a bad magician, and DON'T do what he does."

cheers,
Peter Marucci
showtimecol@aol.com

Good morning Peter,

When you perform, how much of the presentation for a routine is scripted, and how do you decide if or when to deviate from the script?

Peter,

That's great advice. I will act on it.

Thanks!

Mike.

JonTown,
My whole act(s) and all the routines are carefully scripted -- including the "impromptu" bits and "ad libs."

However, that doesn't mean a routine isn't flexible. You must be ready at all times to deviate from the script if the audience or a spectator gives you a line or a bit you can build on.

For example, in my adult act, I use the droopy wand. I hand it to a female volunteer, step back, and shut up! Because, if I've done my job properly and picked the right volunteer, there is NOTHING that I can say or do that will be as funny as what she will say or do on the spot!

But the important thing is to have a scripted show to start with.

Dwight Eisenhower, when he was heading the Allied forces at the time of the Normandy invasion, said the important thing was to have a plan; you could vary wildly from that plan, but you had to have a plan in the first place to know what it was you were varying from!

In other words, you can break the rules, provided you know what the rules are (and why).

cheers,
Peter Marucci
showtimecol@aol.com

Well, not every trick should be an unforgettable emotional experience, in my opinion. Too much of that could kill a show just as well as too many casual, quick effects. But making magic emotional or "deep" is something you have to work out for yourself over a long period of time. And it's not easy at all. Eugene Burger was performing card warp for several years before he saw the chance to weave it together with a story about the Spanish Inquisition. Another of his tricks, the burned and restored thread, would normally be a very commonplace trick. But he has this complicated presentation about Hindu gods and the creation and destruction of the universe. That's a little bit "out there," but that's just his personality. He's always been interested in religion and eastern philosophy and spooky things in general, he says. He talks a lot about coming up with strong presentations on his Magical Voyages tapes, and he basically just says to start with what interests you. He said he had a student who does a lot of baseball tricks, because that's what he's into. Honestly, I've never got a handle on the emotional-hook thing, but I think it's just the same as writing a story or a song or trying to paint a picture... you start out trying to express yourself, and just work on it and redo it and redo it until you've got something presentable, and then share it with other folks....