How much material do you go through?

[italian_magic_man]

In the ongoing creative process, I know that I end up learning, discarding, and later coming back to many effects, sleights and presentational ideas. I thought this would be an interesting way to find out how much and how often people try out new material just to test the waters and see if an effect is viable for audiences. After a 30 minute chat with Aaron Fisher, my ideas of what worked for audiences changed drastically and I was wondering what others' thoughts were on it.

I know now that more often than not, most of the material I am comfortable with didn't seem to get the reactions I wanted in public because they were not routined correctly for maximum effect or they weren't used in the right context for the present audience. I also learned there is a big difference between eye candy for magicians and laymen.

In my very Italian family, we learn from a young age that the right wine paired with the right food can make for an almost religious experience. I personally believe that the same goes for magic in every respect.Does anyone have thoughts on how they choose their material, where they get ideas for routining certain effects together, or any other general ideas?

 

[phrozunsun]

another italian on here? NICE!

as for the wine metaphor, I agree, but I'm not sure we'd apply it the same way.

I know this may be frowned upon, but I buy a lot, and if I don't like it, sell it and move on. If I find something I like, I'll stop, keep it, practice it, use it and then continue looking for something else to add that fits my style.

Now I know a lot of people say pick a trick and learn it well and you'll be able to perform it so well, you'll get a good reaction anyways. I've heard the whole "buy one trick a year and master it" rhetoric. And I'm not disagreeing with that. I mean, sure I could learn linking rings, but personally it's not my thing. Never has been. In fact, I've all but hated it with the exception of two performers who do an amazing job that I've seen - one of them being Merlin.

But I digress, my point is Magic, like wine should be paired. I'd say a magician's really got to fit the trick and the trick needs to fit the magician. I'll admit, I've discarded a lot of great effects, mainly because we weren't a good fit together.

It just sort of bugs me that sometimes my take/leave mentality is frowned upon by people who buy a trick, feel it's unethical to sell off if you aren't into it, and backwards rationalize/learn it because they're trying to justify their investment. (not so much on here, but I've seen this as a prevailing attitude in some groups of magicians - especially professionals)

 

[Luis Vega]

usually I have a lot of ideas, some of them are practical, some of them are not..
but after sometime of putting aside the impractical, suddenly there is a way to make them practical, there is when you should re-take them.

that how I do my effects!!

 

[RickEverhart]

I use the same approach as phrozunsun. I read reviews, decide if I like the effect and then make the purchase. I then give it plenty of practice and test the waters with many different types of audiences.

If it hits hard....and I like it I keep it. If it is blah...or I decide it is not for me...then I quickly sell it and move on. I do not just let piles of unused magic sit for long. You might as well resell it and make some of your money back.

I know many people will disagree with me as well but this is what I find works for me. Sure I take a loss financially but if I can find enough tricks / effects that work with me and my presentation ideas, then the pay off at gigs returns the favor both emotionally and financially.

Now another option is to become friends with an owner of a brick and mortar magic shop who will give you good sound advice to whether or not a purchase is right for you. Whether or not it fits my persona, or if there is too much prep / set up that I don't normally like.

Hopefully everyone has there own way of moving through material and finding what's right for them and their audiences.

 

[THE BLACK MAGI]

another italian on here? NICE!

as for the wine metaphor, I agree, but I'm not sure we'd apply it the same way.

I know this may be frowned upon, but I buy a lot, and if I don't like it, sell it and move on. If I find something I like, I'll stop, keep it, practice it, use it and then continue looking for something else to add that fits my style.

Now I know a lot of people say pick a trick and learn it well and you'll be able to perform it so well, you'll get a good reaction anyways. I've heard the whole "buy one trick a year and master it" rhetoric. And I'm not disagreeing with that. I mean, sure I could learn linking rings, but personally it's not my thing. Never has been. In fact, I've all but hated it with the exception of two performers who do an amazing job that I've seen - one of them being Merlin.

But I digress, my point is Magic, like wine should be paired. I'd say a magician's really got to fit the trick and the trick needs to fit the magician. I'll admit, I've discarded a lot of great effects, mainly because we weren't a good fit together.

It just sort of bugs me that sometimes my take/leave mentality is frowned upon by people who buy a trick, feel it's unethical to sell off if you aren't into it, and backwards rationalize/learn it because they're trying to justify their investment. (not so much on here, but I've seen this as a prevailing attitude in some groups of magicians - especially professionals)

I agree. I think the magician has to fit the trick to, that's why a lot of times I don't really buy many effects because they don't fit me. I have some dvd's but mostly all the stuff on there I dont use either.

I have since been creating my own effects which fits me best, but it take months berfore I have it the way it should be presented to the public.

-T.J.

 

[Andy.Boss.Glass]

I do what stephen king does with his stories. He writes them, puts them i n a drawer and lets them sit for six months to a year, maybe more, then pulls them back out and works on them again. Apply that to your creative process, and it will change dramtically.