After reading the post "Problem with Magic + The Three Shell Game", I decided to start this thread.

The question came up (as it does quite often) on "how to practice/rehearse". Sometimes after reading something for the 100th time a bell goes off. This time I realized not a lot on this topic is discussed in any one medium. Understandably so considering the plethora of applications relating to magic)

You find books on various magical theory, and small articles (in different formats) of general recommendations relating to practice-but that is it.

Since my dream really is to have a DVD of the "Greats" explain how they practice and devote their time to refining their magic, this post starts that ball rolling. (even if its only in type written form) Its my belief that this medium is what's needed to improve magic today, and strengthen its future foundation.

So this thread is devoted to practice and rehearsal. How do the pro's practice, and how do they rehearse. Is it different for cards as it is for coins, balls, bills, etc.? Do you live in front of a mirror or video camera, or do you constantly test material on your family until you get it right.

How do you perfect slights and positions of objects with out acquiring bad habits hrough multiple repetitions of trial and error? Do you work at being ambidextrous? Do you keep a diary? Do you script your routines, or do you highlight them and "shoot from the hip" ala 'David Blaine'. (My apologies to his fans) Finally, what do recommend for those old and young that are new to magic? (with and with out time restrictions for actual practice)

There are more people who browse these forums than post. Hopefully this thread will not only help someone, but also give true insight to each of us into how a pro is REALLY developed. In the end, perhaps it will better each of us in ways we never considered OR anticipated.


MM

Well, once your working, you get enough practice just constantly working to keep the effects that you perform sharp. You only need to practice any sleights you have had trouble with...

Lets see:


Before you practice anything, figure out as much as you can about the routine.

The moves, but more importantly, what the spectator is suppose to be thinking and what your suppose to be thinking at every point during the routine. This is the most important thing about any routine. You should know exactly what the spectators should be thinking at any point. This provides clarity and makes for a good effect.

Anyway, once you have that, practice every sleight while working / watching tv / whatever until you can do the sleight with no hesitation or mistakes.

Then work on your patter, and figure out what your going to be saying for the whole thing, paying special attention to what your saying around your sleights. Some people have tendency to talk a lot, and then right during a sleight, they shut up because that's how they practiced(in silence) or because they have to focus on it. You should learn to patter over any sleights so that there is no discernable pause when you execute a sleight.


Next, is the best part!!! Video camera!

I recommend either a high quality webcam or at least something digital so you can easily save and look through a clip. You should have this setup either to a TV or computer so you can watch a video right after you've recorded it.

First record all the sleights along with patter, to check angles and make sure there are no tells to anything.

Then record the whole routine once or twice, straight through even if you make a mistake. Figure out an 'out' for anything that goes wrong. Run through it as much as you can until the whole thing is smooth and looks good.



The next part is audience, I personally advise you to find a friend that is very good at describing what they are thinking(not many are), and also someone who is objective and not too-exposed to magic. These guys are hard to comeby!!! Offer to either pay them, or usually just say when your done, you'll buy dinner/lunch or pay for the night out drinking or a movie. But you should make sure they relize they are doing you a favor, and the only thing your going to be doing is going over a magic effect. Getting good feedback from a laymen is the most important part.

Record on video you performing it for them and then interview them on their first take. First ask them to recount the effect, so you know what a spectator will remember or rather what they think they saw. Then ask some questions about it, things like "did any part seem fishy or rushed", ect.

Go over it a few more times, recording not only the performance(and be sure to record their face during the trick so you can watch their eyes and expressions). And talk more on tape with them about the effect.

Anyway, after you get back from food, go over all the footage, figure out what he was thinking at every point during the effect, and watch his eyes to see where he is looking. If he isn't looking where you want, then figure out some misdirection or patter to make him look where you want him too.

Make sure the effect is very clear in his mind, if it isn't, add patter or handling to make it easy to understand.


After this process you should feel very comfortable with it, get plenty of peer review and then you should be ready to add it in to your show.



I should note that this is a very intensive process and doesn't really need to be used for every single effect, but for the ones you want to work on and improve, nothing beats plenty of videotaping with a good spectator.


about Diary, try this out:


Take out a brand new notebook, and then on different pages write topics like these down:

"Every effect I can do with stuff I carry with me at all times"
"Effects I can do with borrowed items or when I am unprepared"
"Effects for walkaround"
"Effect that I like but are too bulky to carry around with me"
"Effects that need some work"
"Effects that I'd like to buy or gimicks that I need to get replaced"
"Effects that aren't very entertaining but very impossible"
"Effects that are good encore pieces"
ect....


Fill all this out to help you get a better idea of what you have, and what you need to work on, and what you need to learn/buy.

This is where you can really seperate the good from the bad... Cross out everything that you don't think it is worth it to perform. Also check off all the great effects that just don't fit in with your show or personality.

Take everything from the "I like but don't carry with me" and figure out if it is worth it to carry around. Throw everything that you like from this column in a close-up case if you haven't already, and you'll have it with you, ready to go.

Take a good look at everything in the "I need to work on" column and go through the video taping practice process, and get each effect up to your own high standards. If the work is on a fundamental presenation/handling level, give this effect its own page and write down any presentation or handling idea's. Get your peer's to give advice on these pieces.

Take a look at what you want to buy, figure out whether you really need it, and start setting aside money to get whatever you need. When you get it, practice it and put it into a show!

This is all common sense, so go out and use your common sense and do whatever it takes to get your effects the best they can be!

If I'm working on a new routine, the first thing I do is divide it into sections. I go through the routine and see what sleights, etc., I need to learn. Then I work on those. I start with the most difficult one. When I have it down, I go to the next one.

Then I start through the routine. Every time I find a spot where I need to move something to another location, such as put an item in a different pocket, I make a note of it. Finally, I know the correct disposition of the props, etc.

Then I rehearse the routine. I'll go through it a couple of times to get the feel, and when I have it, I start grinding away.

Next, I show it to my wife. She can tell me where the glitches are far better than any video camera made.

She also knows when the patter is wrong and how to fix it. She is basically my director.

Quite often, I'll have an idea for a routine, and I'll figure out what sleights I need to know in order to do it. Or, I'll see a sleight,and I'll figure out what kind of routine I can do with it in order to force myself to learn it.

I don't believe in learning sleights or moves that you don't have a routine for. Otherwise, you won't use them.