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The Magic Cafe Forum Index » » Finger/stage manipulation » » What does our audience think? (8 Likes) Printer Friendly Version

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RJH
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I have now made 4 performances (6 more to go) and I think that laymen do enjoy and appreciate manipulation magic.

RJH
jay leslie
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Was the original question "What does the audience like?"

If you want to know exactly what people think...... just listen. Hide a tape recorder under a seat in the last row and listen to the comments as you drive home.

Shake hands a lot when the show is over and ask "What did you like? Was there anything you could have done without? I really like to know,"

Video tape every show. Listen to the responses the audience has to each effect. If the audience does not like something it's out of the line-up.


As far as performance style - there are two methods. You are in inner-outer or an outer-inner. (You either use the personality you were born with or you emulate how a magician would appear.)
Magnus Eisengrim
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Many audience members like shows of skill too. Think about musical performances. A great many people LOVE fast, virtuosic passages. Far more, sadly, than those who love more artistically presented passages.

Sometimes we have to go with taste, and deliver what we believe. With luck there will be an audience for what we give.
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.--Yeats
RJH
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I performed my billiard ball act at a amusement park today and people didn't clap when I made a ball change color, but they clapped when I did a ball roll as fast as I possibly can! Interesting!

RJH
Magnus Eisengrim
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Interesting, RJH.

Here's an experiment. Take a standard billiard ball move, either one ball to two or two to one. Normally we do these visibly and the audience reacts. I recently changed a phase of my routine where I cover "one" ball with a silk, slowly pull the silk away and show two. Then I reverse the process with the silk. My experience is that the covered move is as strong as--or stronger than--the visible move.

There is much subtle psychology going on here.

John
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.--Yeats
Dick Oslund
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Quote:
On Jul 3, 2014, RJH wrote:
I performed my billiard ball act at a amusement park today and people didn't clap when I made a ball change color, but they clapped when I did a ball roll as fast as I possibly can! Interesting!

RJH


I use the ball roll as the second "bit" in my ball routine. When I first put it "in", I did it as fast at I could. I got a nice reaction. THEN! when I did some fine tuning to the routine, I started the roll, and as I looked at the audience, I moved the ball from forefinger and thumb, to forefinger and second finger. It got a slight reaction, then, I would look at my hand to "see" what had caused the reaction. I looked surprised. Then, I rolled it slowly around and back to forefinger and thumb. It got a bigger reaction! I looked at audience again, then quickly returned my gaze to my hand. NOW, I rolled it as fast as I could, about 4 or 5 times around my hand. It got a great response. I think the "build up" allowed the audience an opportunity to see the action better, and they were more able to appreciate it. I've done it that way for "eons"!

Of course, it might not play that way for anyone else, but, it certainly has made a difference for me! --TIMING!!!

Quote:
On Jul 3, 2014, Magnus Eisengrim wrote:
Interesting, RJH.

Here's an experiment. Take a standard billiard ball move, either one ball to two or two to one. Normally we do these visibly and the audience reacts. I recently changed a phase of my routine where I cover "one" ball with a silk, slowly pull the silk away and show two. Then I reverse the process with the silk. My experience is that the covered move is as strong as--or stronger than--the visible move.

There is much subtle psychology going on here.

John

Yes! When I first saw the Russ Walsh Vanishing Cane performed in 1946, by C. Thomas Magrum, My "teen age" eyes "popped"! (Actually, it didn't vanish--it changed to a 24" white silk, IN FULL VIEW)) It was a beaitiful effect. It got a nice reaction--it was Clem's openinig trick.

A year or so later, I saw a magician vanish the cane. He rolled it into newspaper first, and when the paper unrolled (with a "flourish") the audience reaction was much better. A few years later, I bought a Walsh cane at a sale.

I remembered the newspaper vanish. I checked around. Jay Marshall, Don Lawton, Karrell Fox, and a half dozen other well known performers, used the newspaper. On the road, doing schools, there wasn't always time to set the cane, so it wasn't used every show. But, when it was "in", it got a much greater reaction with the newspaper, than it did with a visible vanish.

So, our experiences "match"! In general, I like visible effects. But there is always an "exception" to the rule!
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
Pop Haydn
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Billy McComb always did it like this:



But he could do it like this:

Magnus Eisengrim
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Ha! Great clip, Pop!
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.--Yeats
Dick Oslund
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Hey Pop!
I had never seen Billy do the cage.

He did it better than both of the Blackstones!

Thank you!!!!!
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
Pete Biro
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1933 - 2018
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Al Koran showed me a way you could do it bare armed. The "necessary" was in your pants. Smile
STAY TOONED... @ www.pete-biro.com
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