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daffydoug Eternal Order Look mom! I've got 14077 Posts |
I would like to ask if any one has any knowledge of routining a show (stand up). I've got the Dan Harlan DVDs, and he has some excellent advice, but I know this is all theory. Does any body else have a hard and fast formula for putting your tricks in a good order in your show? What do the experts say here?
The difficult must become easy, the easy beautiful and the beautiful magical.
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Peter Marucci Inner circle 5389 Posts |
The only "hard and fast" rule might be: Don't routine your show so tightly that you don't leave time between effects for the audience to react -- be that applause, or stunned silence, or awestruck gasps.
Beyond that rule, it would depend on what kind of show, what tricks, what audience, etc. |
Mr. Muggle Special user 999 Posts |
This is a hard one, everyone has a different style of performing. So what I may do won't necessarily work for you. I have the Harlan tapes also- he does give some pointers (IMO) that are probably worth more than his effects on the tapes. I really liked his outline sheets. He should have included a blank copy with the DVD's.
I have used a guideline similar to his for a number of years. I try to make my routine a 3 act play. This doesn't mean do a hour show mind you. I write my routine outline as a play, then format the effects to enhance the feeling I want conveyed during the performance. This is where style comes into play. I know some guys who will do 5 unrelated effects in a 30 minute show. I'm different, and will do on average 8 or more. The preformance and order of effects will strengthen or weaken the feelings of the audience during the course of the play, tugging at their emotions until the final curtain. Hope this makes sense, its worked well for me. MM
"Now you're looking for the secret... but you won't find it because you're not really looking. You don't really want to know the secret... You want to be fooled." - The Prestige (2006)
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nalu_magic Loyal user Paradise 297 Posts |
Check out Eric Paul's new book "The Family Entertainer." It contains some GREAT routines and lots of useable ideas.
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snilsson Regular user Stockholm, Sweden 186 Posts |
There are rules. Here is a short and informative article explaining the very basics: http://www.magictricks.com/insider/routine.htm
The next step would be to study rhetoric and drama. Watching and analyzing succesful films, plays, variety acts, professional speakers, etc is very useful. Unfortuantely the best examples of good routing are rarely found within magic performances. |
Mr. Muggle Special user 999 Posts |
Quote: Oh boy, here we go- the new thread should be.....
The best examples of good routing are rarely found within magic performances David Copperfield (Enchanted Theater) vs. David Blaine (Stupid Pet Tricks) The best examples of good routing are rarely found within magic performances. That's true, but good routining has been showing up moreso in professional Magic/Illusion show's. Now is this because the larger, professional show's have people on the payroll with knowledge using different lighting, writing style, tone, and music to enhance the effect??? This area needs experience or allot of invested time in trial and error to achieve greatness. A true pupil of 'good routining' should have IMO just about as many books on character development, play writing, and acting as they do on magic. I don't care who you are, that's allot of research! I'd Love to see some emphasis on this subject from local lectures, and close up performers. Of course we have some literature on the topic by magician's, but not as much or as in-depth as we need. If you think that I'm wrong, just check out your local "Parlor magician" or "children's entertainer" market. I cannot count the show's that I've seen while walking away I wondered why I went to a 'show and tell/rehearsal' instead of a 'magic show'. IMO you need an even mix of story telling, play writing, & emotional projection to build a good routine. To many people are afraid it seems to relate effects in a mini story line. Either that, or it's to hard for them to do so in an entertaining, emotional way. Does anyone agree, or am I alone on this subject? MM
"Now you're looking for the secret... but you won't find it because you're not really looking. You don't really want to know the secret... You want to be fooled." - The Prestige (2006)
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Bill Hegbli Eternal Order Fort Wayne, Indiana 22797 Posts |
Being this type of question could be very confusing. I don't know the type of act your are refering to I will give you one of my tips.
If I have just finished a spectator trick, I then pick up a short none spectator trick. i.e. Chinese Sticks. This give time for the persons to get back to there seat and no one misses anything. I think this also falls into an act having highs and lows. Bill |
C Christian Loyal user 288 Posts |
Routine it so that you leave them wanting more!!!
Cheers Chris |
James Fortune Special user UK 509 Posts |
Some very good points here - especially the article snilsson pointed to.
Here's the bylines I've always followed: 1) "Start with a bang and finish with an explosion!" In other words, your most stunning trick should be your closer and your next best QUICK trick should be your opener. Fill the act in between. 2) "You never get a second chance to create a first impression". Your opener must really impress and set up their expectations. 3) "People buy people first" Before anything else they must like YOU. If they don't like you, they won't like your magic. Be nice, be charming, be fun. 4) "Light & Shade" Vary your effects as you progress through the act. (This is well covered in the article). 5) "Time each effect IN ACTION" Time each effect during a real performance. It's the only way to really know. Laughs and gasps take up time. 5) "Leave them wanting more" Always finish before they expect you to. If in a competition that says "your act should be between 6 and 10 minutes", make your act 7. If you've been booked to do half an hour, do 25 minutes. I'm not saying short-change your booker, give them what they want but no more. 6) "Let them appreciate you" This means don't run off stage as soon as your last trick is finished. Try to get it to leave you in 'applause pose' and give them time to applaud you. If you see an act you really like, you want them to stay on stage as long as possible while you clap and whoop, right? So, if you've gone down well, don't deprive them of this time. They'll love you for it. Hope this helps.
Warmest regards
James James Fortune MIMC www.comedymagiciansurrey.co.uk www.bestweddingmagician.co.uk |
daffydoug Eternal Order Look mom! I've got 14077 Posts |
Quote:
On 2004-01-08 14:30, nalu_magic wrote: Where can I get the book?
The difficult must become easy, the easy beautiful and the beautiful magical.
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Cabrera Special user Seattle 513 Posts |
I always start my act with a quick and funny monologue.
This gives the audience an insight to my personality, and brings out a human side from the beginning. Kind of like a first date. You don't just start with a BANG!
"The quilt of life is woven with many different threads"
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