The Junto Session today on waynehouchin.com proved to be thought-provoking. Let me first pose a question that arose in my mind during the chat:
Why are we so eager to prove ourselves to spectators?
Consider doing uncalled-for sleights. Turning over a double then performing a KM move simply to use Shapeshifter. Why are magicians so desperate to take the avenue that is hardest in design but simplest in image?
The magician is not the spectator. In learning the secrets, you give up that privilege and instead become the creator, which alone has its merits. But magicians today have resorted to fool spectators and, more importantly, magicians. How many times do you see a trick being a "magician fooler" used as a selling point?
Get your hands dirty.
Yes, there are routines and tricks in which there are maximum results for minimum effort, but the great ones require skill and deception, two qualities today's performers so often lack. Those who perform at all rely on consistent study of the routine to get them by. The elements of practicing are not valid in a performance setting. The third factor, the spectator, is introduced. Who knows whether or not a trick will be exposed or whether or not you will fail. The responsibility is on the magician. As Houdini said, "It's not the trick. It's the magician."
So many magicians today are more worried about every little detail. I want you to go against every rule. You do not need any books or DVDs or instant downloads or free PDFs to become a good performer. You need experience - getting out there and finding what works and what doesn't. Sure, some books and videos have their merits, but in the end it is all relative to you.
Why rely on the material to give you the image of a magician? Bring the image, and trust the material, not single-handedly rely on it. For instance, I've changed some tricks or patter to adjust performing conditions. If you're standing and everyone else is sitting, are you going to just talk while doing a half pass? No, you divert the attention as according to the situation.
Performance is key, but so is the material. Think of a symbiotic relationship: without one thing, the other dies. Scratch my back and I'll scratch yours. Magic works on the relationship of the trick and the presentation. But those are only 25 percent each. The other 50 percent is the spectator's reactions. What they do will influence what you do.
So in trying so hard to be a magician, we have neglected the fact that you are trying to persuade the spectator into thinking you have complete control over the situation when, in reality, they do. They have no barrier from taking that gimmick from your hands, looking the wrong way during an angly pass, saying that you have two cards instead of one. Convince them otherwise.
How? By being yourself. Don't rely just on outside material. You know what works and what doesn't. Do it. This generation of 12-year-olds who expose effects on YouTube and hardly perform needs to come to a haltering dead end. We have to examine ourselves to present magic in its purest form.
You can read the best books, learn the best material, study 1-on-1 from the most renowned performers and designers, and acquire the highest quality playing cards and the shiniest coins. But they are all a means to an end, a virtual toolbox, a vessel for your personality and presentation. In the end, it's all about you. You do your best and then hope the reaction is good enough. Creating magic is all about that one moment of wonder. You are the key to presenting magic correctly.
Go out, perform, do your best, and find what works.
Ian
Why are we so eager to prove ourselves to spectators?
Consider doing uncalled-for sleights. Turning over a double then performing a KM move simply to use Shapeshifter. Why are magicians so desperate to take the avenue that is hardest in design but simplest in image?
The magician is not the spectator. In learning the secrets, you give up that privilege and instead become the creator, which alone has its merits. But magicians today have resorted to fool spectators and, more importantly, magicians. How many times do you see a trick being a "magician fooler" used as a selling point?
Get your hands dirty.
Yes, there are routines and tricks in which there are maximum results for minimum effort, but the great ones require skill and deception, two qualities today's performers so often lack. Those who perform at all rely on consistent study of the routine to get them by. The elements of practicing are not valid in a performance setting. The third factor, the spectator, is introduced. Who knows whether or not a trick will be exposed or whether or not you will fail. The responsibility is on the magician. As Houdini said, "It's not the trick. It's the magician."
So many magicians today are more worried about every little detail. I want you to go against every rule. You do not need any books or DVDs or instant downloads or free PDFs to become a good performer. You need experience - getting out there and finding what works and what doesn't. Sure, some books and videos have their merits, but in the end it is all relative to you.
Why rely on the material to give you the image of a magician? Bring the image, and trust the material, not single-handedly rely on it. For instance, I've changed some tricks or patter to adjust performing conditions. If you're standing and everyone else is sitting, are you going to just talk while doing a half pass? No, you divert the attention as according to the situation.
Performance is key, but so is the material. Think of a symbiotic relationship: without one thing, the other dies. Scratch my back and I'll scratch yours. Magic works on the relationship of the trick and the presentation. But those are only 25 percent each. The other 50 percent is the spectator's reactions. What they do will influence what you do.
So in trying so hard to be a magician, we have neglected the fact that you are trying to persuade the spectator into thinking you have complete control over the situation when, in reality, they do. They have no barrier from taking that gimmick from your hands, looking the wrong way during an angly pass, saying that you have two cards instead of one. Convince them otherwise.
How? By being yourself. Don't rely just on outside material. You know what works and what doesn't. Do it. This generation of 12-year-olds who expose effects on YouTube and hardly perform needs to come to a haltering dead end. We have to examine ourselves to present magic in its purest form.
You can read the best books, learn the best material, study 1-on-1 from the most renowned performers and designers, and acquire the highest quality playing cards and the shiniest coins. But they are all a means to an end, a virtual toolbox, a vessel for your personality and presentation. In the end, it's all about you. You do your best and then hope the reaction is good enough. Creating magic is all about that one moment of wonder. You are the key to presenting magic correctly.
Go out, perform, do your best, and find what works.
Ian
