theory11 — Magic Tricks & the World's Finest Playing Cards
Amazing Doll Magic! (Scary and Must See!!!)
- Thread starter Pete Pridanonda
- Start date
You need to work on your "get ready" (try to not look directly at what you're doing). You also need to create a story around it. . . there's loads of tall tales around Voodoo (which is what the piece was originally developed around -- a voodoo theme) Other than that, you do well on the control.
I agree with Craig this piece deserves a better story. Which in turn may mean you need to rethink your approach. Jeans and a Tshirt while talking about this creepy voodoo doll your x uncle thrice removed once recovered from an expedition in south america may not vib well together.
As Craig already said though, good control. keep it up!
As Craig already said though, good control. keep it up!
Thank you very much Craig and William Draven for giving me feedback, really means a lot coming from two professionals like you two. I do agree with you that an engaging and interesting storyline will enhance this effect a lot more but in this situation, as you can see, people were very busy and I assume they wouldn't want to stand there and listen to me describe the origin or whereabouts of this doll, so I really wanted to just get to the magic. In formal and more relaxing situation, however, I do tell a story with this voodoo doll.
Also, I'm really glad that both of you said that my control is good. When I got this at Magic Live, my hands were tensed up and my fingers moved way too much which is not good. I decided not to give up and just keep practicing this everyday for two weeks and finally found the "right spot". Then, I worked on keeping my hands and fingers as still as possible with no sign of movement and my practice definitely paid off. Every video that I've seen of this effect their hands and fingers moved a lot and sometimes they bend their fingers down or went from relaxing state of their hands to very cramped positions. I performed this literally over 100 times at my school and I get to the point where my hands and fingers are relax and stays the same throughout the rise. this just comes with a lot of practice but I'm really glad I don't give up, this is truly the most magical piece of magic I've had in my repertoire.
Also, I'm really glad that both of you said that my control is good. When I got this at Magic Live, my hands were tensed up and my fingers moved way too much which is not good. I decided not to give up and just keep practicing this everyday for two weeks and finally found the "right spot". Then, I worked on keeping my hands and fingers as still as possible with no sign of movement and my practice definitely paid off. Every video that I've seen of this effect their hands and fingers moved a lot and sometimes they bend their fingers down or went from relaxing state of their hands to very cramped positions. I performed this literally over 100 times at my school and I get to the point where my hands and fingers are relax and stays the same throughout the rise. this just comes with a lot of practice but I'm really glad I don't give up, this is truly the most magical piece of magic I've had in my repertoire.
Give an audience a reason, and be interesting about it and they'll willingly follow you into hell and back.
While I know it has become a big trend in magic pouncing on folks in a parking lot, at the mall, etc. isn't a good habit to get in. It is very invasive and to coin a term RUDE. So if you want to do work on the streets or at a park, etc. create an actual act -- a "pitch" as we used to call it in that you only get paid when you pass the hat and/or sell something (most of my busking work has been sales oriented).
Back in the day you wouldn't find Harry Anderson jumping out fanning a deck of cards and insisting someone participate. Rather he and the rest of we starving artists would simply build a tip -- create a loud enough and whimsical enough spiel that it turned heads and slowly lured people over to where we were working. In turn, this initial tip and their reactions would bring more curious souls into our web. While everything was high energy, it was both simple and geared towards one thing -- getting the cash! Then again, sidewalk work is how we generated those last minute bucks in order to cover rent or put food on the table. . . you'd be amazed as to who shared apartments and boxes of Mac & Cheese for months on end by when we were the snot-nosed kids all enthralled with making our mark in magic history.
You do a fair job with the Voodoo Doll, I'm betting that you like the bizarre type element of magic. So learn from the guys that do this type of work like Larry Baukin, Jim Magus, Docc Hilford and so forth. Pick up anything you can find by these guys or Ed Solomon, even Eugene Burger; study their story lines more than the tricks they do, for that's where the real magick is to be found; learning how to speak and present the mystery.
Given your age, get involved with your school's drama department, original composition & story writing, speech & debate type groups; all of these things will help you learn to become a wordsmith which is vital for those working "the dark side".
Best of luck!
Back in the day you wouldn't find Harry Anderson jumping out fanning a deck of cards and insisting someone participate. Rather he and the rest of we starving artists would simply build a tip -- create a loud enough and whimsical enough spiel that it turned heads and slowly lured people over to where we were working. In turn, this initial tip and their reactions would bring more curious souls into our web. While everything was high energy, it was both simple and geared towards one thing -- getting the cash! Then again, sidewalk work is how we generated those last minute bucks in order to cover rent or put food on the table. . . you'd be amazed as to who shared apartments and boxes of Mac & Cheese for months on end by when we were the snot-nosed kids all enthralled with making our mark in magic history.
You do a fair job with the Voodoo Doll, I'm betting that you like the bizarre type element of magic. So learn from the guys that do this type of work like Larry Baukin, Jim Magus, Docc Hilford and so forth. Pick up anything you can find by these guys or Ed Solomon, even Eugene Burger; study their story lines more than the tricks they do, for that's where the real magick is to be found; learning how to speak and present the mystery.
Given your age, get involved with your school's drama department, original composition & story writing, speech & debate type groups; all of these things will help you learn to become a wordsmith which is vital for those working "the dark side".
Best of luck!
Thank you for your advice Craig, they really helped me immensely. Well, to tell you the truth, I don't really like bizarre type of magic, I perform this effect just because in my opinion, it is the most magical and practical animation effect out there.
Some good advice here.
I'll pitch in with those saying you need a story to justify the introduction of the doll as well as a way of presenting it both with patter and character (dress, demeanor, etc.). Also, when the ladies ask you if you created it you respond with, "No, I bought it." Not a good response. You just told them, basically, you're just a kid having some fun with a cereal box magic trick. Also, you introduce it to one lady as "This doll is actually very scary. I'll show you how scary it is." At that point she leans away and says "No" when you ask her to participate. Put yourself in her shoes--some stranger is telling her he has a scary doll while some guy films her. What is her motivation for continuing? At that point she just wanted to appease you so you would go away. This worked well with the girl at the end though, but that's for good reason. She was young, seemed outgoing, and looked to be someone who was a little more open to someone wanting to share something interesting with her. She seemed comfortable with the situation. Different people have different levels of willingness and interest in participating. Sometimes more repoire is required before you can tell someone "I have a scary doll and I want you to see how scary it is." Make sure you win their trust first with your approach. Sometimes that will come quickly, other times you will need to work harder for it. But try to develop a sense for when you have made enough of a connection that the person will be excited to participate rather than reluctant.
One last thing is personally I do not like the "Boom!" ending. You work to develop this eerie effect that sucks them in, and then you just blow it up and giggle about it. It doesn't leave them with the right feeling I don't think. Also, the doll lifts up a bit a few times after you do it, somewhat hinting at the method of the effect. It's just too abrupt. I see what you're going for with it, which is a moment of surprise, but you may want to consider if that really is the best way to leave the effect hanging for them. If you have Richard Osterlind's "Mind Mysteries" DVD set watch his performance of the Haunted Key and how eerie and spooky he makes it as that key slowly turns over in his hand. He sucks the audience in and creates this amazing engaging and hypnotic moment where time seems to stand still for them, and then that's where he leaves the effect hanging.
Hope that helps. Looks like you're having a lot of fun with the effect and you seem to be a natural performer. Also good to see you're comfortable with approaching people and excited to perform. Those are some of the hardest things for some performers. Keep up the good work, man!
I'll pitch in with those saying you need a story to justify the introduction of the doll as well as a way of presenting it both with patter and character (dress, demeanor, etc.). Also, when the ladies ask you if you created it you respond with, "No, I bought it." Not a good response. You just told them, basically, you're just a kid having some fun with a cereal box magic trick. Also, you introduce it to one lady as "This doll is actually very scary. I'll show you how scary it is." At that point she leans away and says "No" when you ask her to participate. Put yourself in her shoes--some stranger is telling her he has a scary doll while some guy films her. What is her motivation for continuing? At that point she just wanted to appease you so you would go away. This worked well with the girl at the end though, but that's for good reason. She was young, seemed outgoing, and looked to be someone who was a little more open to someone wanting to share something interesting with her. She seemed comfortable with the situation. Different people have different levels of willingness and interest in participating. Sometimes more repoire is required before you can tell someone "I have a scary doll and I want you to see how scary it is." Make sure you win their trust first with your approach. Sometimes that will come quickly, other times you will need to work harder for it. But try to develop a sense for when you have made enough of a connection that the person will be excited to participate rather than reluctant.
One last thing is personally I do not like the "Boom!" ending. You work to develop this eerie effect that sucks them in, and then you just blow it up and giggle about it. It doesn't leave them with the right feeling I don't think. Also, the doll lifts up a bit a few times after you do it, somewhat hinting at the method of the effect. It's just too abrupt. I see what you're going for with it, which is a moment of surprise, but you may want to consider if that really is the best way to leave the effect hanging for them. If you have Richard Osterlind's "Mind Mysteries" DVD set watch his performance of the Haunted Key and how eerie and spooky he makes it as that key slowly turns over in his hand. He sucks the audience in and creates this amazing engaging and hypnotic moment where time seems to stand still for them, and then that's where he leaves the effect hanging.
Hope that helps. Looks like you're having a lot of fun with the effect and you seem to be a natural performer. Also good to see you're comfortable with approaching people and excited to perform. Those are some of the hardest things for some performers. Keep up the good work, man!
Thank you very much Matt for your advice, I can't thank you enough your advice really helped me a lot not only in this effect, but I can find ways to apply them to other effects that I do as well. Much appreciated.
No problem, Pete. Look forward to seeing how you present this effect months or even a year from now. Keep it up!