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Jaz Inner circle NJ, U.S. 6111 Posts |
Look as I may, I've found very little info about formal closeup work where you stay at a table and do a show there.
I see tons of strolling effects but very little on routining effects for formal closeup show. Question 1) Do you make an act that blends your effects together? Example: You do a few card routines and the last is a coin matrix. You then proceed with coin work and end with coins thru silk. etc. Question 2) Do you set a theme for your act or do something like, "..and here's something else that's cool." and move to the next effect? Question 3) I've often thought that the basic things a real mage would do would be to: a-Magically produce something they needed. b-Either transform it into other things needed or.. c- Vanish when finished with it. Stage magicians seem to do this but-- Is this a reasonable idea for structuring a table act? Question 4) What routines or effects do you do at the table? Just curious. |
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paulajayne Inner circle London England 1160 Posts |
Hi
Your effects should flow from one to another. E.G. A coin routine can move into coin matrix and then a card effect. Its like a TV drama it should have a beginning middle and end. Routines? - Do what you feel is right for your style. Do not copy anyone else. Paula
Paula Jay - Magic to Remember -
--------------------------------- I once wrote a book on elephants, I think paper would have been better. ---- |
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S2000magician Inner circle Yorba Linda, CA 3465 Posts |
1) Generally, yes.
2) Sometimes yes, sometimes no. For me it depends on my mood and how I read my audience. 3) Take a look at Larry Jennings' Single Cup & Balls Routine (from The Classic Magic of Larry Jennings); he does just that. Some magicians are strongly in favor of ths approach, others are strongly opposed to it. I'm neutral. 4) Such a show would be akin to the performances in the Close-Up Gallery of the Magic Castle - alas, not within commuting distance of New Jersey. If you can see videos of some of these acts - Johnny Ace Palmer, John George, Lennart Green, James Lewis (his Million Dollar Mysteries has his Castle act), Earl Nelson, and so on - you'll get ideas galore. |
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Jaz Inner circle NJ, U.S. 6111 Posts |
Thanks Paula, BCIII,
I have seen a few videos of table closeup which have given me some ideas. I'm to the point where some blending transformations with a interlude between and then another few moments of magic may be my answer. I definitely will try to be as original as I can Paula. Thanks, |
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Bob Johnston Inner circle Philadelphia, PA 1251 Posts |
Jaz:
You may find that, if the magic is good, no one cares how you get from trick one to trick two, except other magicians. When you sit at a table (rather than stand) you become “one of them.” You may, in fact, be performing, but is another way you are also “one of them.” You have no more need to transition from one trick to another, than you would hesitate to change subjest while talking to some friends over lunch. Bob |
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paulajayne Inner circle London England 1160 Posts |
Jaz
My first answers is best to follow starting out, but as you learn to read your audience you find that you can jump from one to another. I carry about 30 effects with me and have more in my case so that I can bend the performance to suit. To start with you should have at least 6 tricks that you can do VERY well and are very happy with. Suggestions:- A good coin trick A sponge ball trick A TT trick Two good card effects with a normal deck A rigged deck WOW effect. A rubber band trick Have the patter well rehersed and do not panic if the flow is stopped by a guest or waiter. Remember it is about entertaining them and NOT showing how good a magician you are. Have Fun Paula
Paula Jay - Magic to Remember -
--------------------------------- I once wrote a book on elephants, I think paper would have been better. ---- |
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GlenD Inner circle LosAngeles, Ca 1293 Posts |
I am glad you have posted this, Jaz. I have been trying to put together a "close-up act" that would be a set performance under close-up conditions.
I think it is great to always be prepared to do a few tricks or entertain some folks wherever you are. Even having short little routines ready to go with the stuff you carry on a daily basis. I am not suggesting that no thought is given to that. But I also am of the opinion that having a thought out and well prepared close-up routine is the way to go for those times when you know you are going to be doing magic. I am also paying close attention to advice and suggestions given relating to this issue. Thanks guys. GlenD
"A miracle is something that seems impossible but happens anyway" - Griffin
"Any future where you succeed, is one where you tell the truth." - Griffin (Griffin rocks!) |
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David French Veteran user 374 Posts |
I tend to love this type of show. I sell all my in home private parties this way. I ask to be seated at a dinning room or kitchen table and do a Don Alan type show. Formal Close up. Now to answer your questions:
I would try to blend the routines if possible. But this is not necessary. Also a running gag will help. I do many gimmicked packs. Rising Cards, Oscar, In a Flash, Mental Photography deck. And as a running gag, I just mention that I ruined the deck before and always carry a spare. Also, I load a deck of cards under the bowl as a climax to the Benson Bowl routine, thus a perfect blend into a card on ceiling. Like the others have said, just have fun. Formal close up is still very interactive and should be fun for you and the audience. Best, David |
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Jaz Inner circle NJ, U.S. 6111 Posts |
Thanks GlenD, David.
GlenD, I too love those quick tricks but many of them don't seem right for formal table closeup. In fact I'm sure a couple of larger parlor type effects would have to be incorporated. I just haven't found those that fit the bill. David, thanks for the tips. I was thinking chop cup but I'll have to look into Benson Bowl. I had also forgotten about my old Rising Cards deck and you reminded me. It would nice if the Café had an "At The Table" category or similar. Thanks, Jaz |
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David French Veteran user 374 Posts |
Jaz,
I do the chop cup, Benson bowl, and dice stacking with a load in every show. As you can tell, I am a huge Don Alan fan (aren't we all). I do many of the classics as they continue to work wonders on folks. Always remember if they like you, you can do most anything. David |
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Pete Biro 1933 - 2018 18558 Posts |
There are still hundreds of magicians DOING DON ALAN.
Why? Well, it does work. THE REAL SECRET TO AN ACT-------------- Ken Brooke had it figured. He taught, "What makes an ACT is the "links and bits" BETWEEN the tricks."
STAY TOONED... @ www.pete-biro.com
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Michael Baker Eternal Order Near a river in the Midwest 11172 Posts |
Quote:
On 2004-09-09 18:58, Wellington wrote: I think it's not a matter of whether or not anyone cares, as much as it can provide a seamless flow that (and here is the point) is not noticed. I don't think it is necessary to have a logical transition between every effect, because doing so doesn't allow a climax to truly be a climax. There are times when it gives the routine a good flow to blend the edges and there are other times when you need to let the audience enjoy the finality of the effect just completed without it necessarily being the end of the show. Think about your show as possibly consisting of separate acts in a play, each with a series of scenes that meld to form one act. An act may be one scene... it may be three, four, or five. The entire play could be one act, or it may be several. You can determine this as you construct it. As far as performing while seated... while it seems to be a thing of the past, I think it can easily regain acceptance. For years, that is how I performed a majority of my magic. In restaurants (and these were upscale places), I would table hop to establish the rapport with the customers, but it mostly didn't end there. I would periodically check on them throughout dinner, as if I were simply a good will ambassador (which, in essence, I was). No magic at those times, but I would indicate that I would be back during dessert to show them something very special. The first problem is that there is often no extra chair at the table, so I had made a special case that had 3 different size drawers stacked in a narrow cabinet. The whole thing was on very strong castors and the top was covered with a nice plush carpet and the case doubled as a seat. It was fairly narrow (about 8 or 9 inched wide). I would position it and basically straddle it like a motorcycle seat. The 3 drawers ran through the entire length of the cabinet from front to back and were designed to open from either end. You'd never have to slide a drawer more than halfway out, rather reverse the cabinet if it was necessary to get items from the opposite end. (I usually avoided having to reverse in the middle of a set. Each end basically held a separate act.) Anyway, I could carry this to the table (it was smaller than most suitcases, and chair-height). People were always very accomodating and would shift if necessary so I could join them at the table. From there, I would do a formal sit-down show. Much of my influence came from watching guys like John Mendoza, Albert Goshman, and others, who typically performed this way. Somehow magic degenerated to a walk-up stand-up format. I'm not sure why. Perhaps because magicians began to saturate the restaurant scene, and while initially it was table magic in its truest form, this was largely due to the fact that it was often only seen in the finer establishment... or at least in places where the restaurant catered to a group of diners for the duration of a very nice meal. There was more concern with treating them well throughout the entire experience, and less concern with feeding them as quickly as is practical in the hopes of turning the table as often as could be done. In the later environment, a magician would not have the time to perform much beyond what could be immediately shut off by saying thank you and walking away. In this type of restaurant, it is more likely the performance style would have to be less formal. There have been other threads on the Café that have discussed the problems with volume work. There really are lots of problems. While it may be said that more magicians are working, sadly, the venues are becoming more and more interested in cookie-cutter magicians who can "do a trick and make a balloon animal" for as many people as possible in as short a period of time as is possible. This is evident by the number of magicians that are selling their services on an hourly basis and are usually hired to work the 1, 2, or 3 prime hours of the evening. A resident magician is simply not on the clock in this way. He is usually a fixture for most of the night... and these are the environment where formal table shows are likely to work. I personally think this type of magic is the best and could very likely have a strong place, in spite of this fast-turnover market. Funny thing is... it could almost be viewed as a novelty, and promoted with that angle. The only other possibility I can venture a guess as to why there is less sit-down magic today, is that maybe there are lots of magicians that most respectable people would not want sitting at their table. Ponderable..........
~michael baker
The Magic Company |
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GlenD Inner circle LosAngeles, Ca 1293 Posts |
Excellent! Thank you Michael, I very much enjoyed reading your post.
I only have one question... where did you get your close-up cabinet/table/chair ?
"A miracle is something that seems impossible but happens anyway" - Griffin
"Any future where you succeed, is one where you tell the truth." - Griffin (Griffin rocks!) |
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Jaz Inner circle NJ, U.S. 6111 Posts |
You've all been a great help!
Breaking a thirty minute, or longer, show into acts sounds like a plan That would work for me. Having seen a closeup demos at conventions I know that in order for a audience of more than a dozen or so to see, some standup with larger objects would have to be incorporated. My focus right now is for smaller private parties of about ten adults. All of you have given me something to work with and I thank you. |
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Michael Baker Eternal Order Near a river in the Midwest 11172 Posts |
Quote:
On 2004-09-11 13:15, GlenD wrote: Made it. Greg (you know him here as "geemack") and I made three at the same time. We each worked on our own, and together on a third. Selling that third one paid for the materials for all three. (We were broke back then {early 80's}... ha!) Greg designed it, and did a wonderful job. Give me a couple days and I'll drag it out and photograph it and put it on my website. When I do, I'll put a link here. I'll try to get that done for you by mid-week. (It's entirely possible that I still have the original plans.)
~michael baker
The Magic Company |
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GlenD Inner circle LosAngeles, Ca 1293 Posts |
Wow, that would be great.
I will definitely check it out if you actually find those and post a link, etc. That is very generous of you, Michael. Thanks again. GlenD
"A miracle is something that seems impossible but happens anyway" - Griffin
"Any future where you succeed, is one where you tell the truth." - Griffin (Griffin rocks!) |
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David French Veteran user 374 Posts |
Michael,
I appreciate your posts here. I too sit when I can, I too think this type of magic has been "lost" but can be done if the conditions allow it. thanks, David |
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Julie Inner circle 3936 Posts |
A larger parlor-type apparatus effect that you could feature is a coin/ring/watch in an attractive nest of boxes.
This is large enough to be a feature and small enough to be practical... |
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Michael Baker Eternal Order Near a river in the Midwest 11172 Posts |
The gray areas between close-up, parlour, and stage have broadened to the point where much magic transcends the original boundaries, if indeed there ever were any.
Whether to sit or stand is subject to so many factors that it should be seen as a given that there is no right or wrong way to do it. How many people can be in an audience and it still be considered a close up show? Does one more person make a difference? A simple change in the size of the props can effectively make it possible to play for more people, while a smaller prop may decrease that size substantially. A wine bottle production could be seen by several hundred people, or by as few as one... but in many cases (not all) it is performed while standing. Johnny Ace Palmer produced doves while seated in a close up environment; typically a stand-up effect. The arrangement of the audience plays a large role. In a theater setting I've seen a chop cup enjoyed by nearly 2000 people. At a long banquet table, it may be difficult for 20 to see it well. That particular trick could be done either standing or seated in either case and probably still be much the same. Topit work is generally done standing and in most cases (again, not all) as a part of a close-up effect. If you ever want to get a real good look at this gray area, just sit in any close-up contest at just about any convention and you'll see, in most cases, a thorough blending of sit-down, stand-up, and sometimes combinations of the two used. You'll see cups & balls routines spread all over the table where more than the front row can't see what is happening, and fish bowl productions done in the magician's hands that couldn't be a more visible in a stadium, yet both probably bad choices for restaurant work regardless whether performed standing or seated. The point to all this is, if a reasonably good way to perform a trick or routine is possible, it matters not whether it is done standing or seated.... if you adhere to one very important ideal... the audience must never be inconvenienced. As long as they can see and hear, don't have their personal space invaded beyond acceptable limits, and feel as if they are getting something in return for the few minutes of their lives that they have been so generous as to give the performer, then all should be fine. OK... after first making sure I am as hurricane prepared as I can get (Birmingham, AL), I was able to get the seat-case description and photos on my website. Seven photos... dial-ups give it a minute to load. http://www.themagiccompany.com/seat-case.html
~michael baker
The Magic Company |
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Jaz Inner circle NJ, U.S. 6111 Posts |
I've seen a few closeup contests and lectures and know what you're saying Michael.
The better acts (am I using the right word here?) for that size audience did a lot of stand up with very visible props. The more intimate, one on one, routines were difficult to see and there were moments, and acts, where the folks at the rear had to nearly levitate to see the routines. I'll have to work out a few more visible routines just in case they're needed. :cyclops: Interesting case Michael. |
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