If you were starting over again...

[Craig Browning]

Mentalism & Bizarre has always peaked my interest but I always felt that it takes a great deal of time and experience to build up to that kind of performance. Understanding how to read and perform for a crowd. Are there any resources you would recommend for someone starting out that wants to build towards this kind of performance?

I tell everyone to start off with the foundation tools & skills allied with traditional magic before attempting Mentalism and to some degree, Bizarre in that both of these areas are very performance oriented; the methods are typically super simple but the effect as well as the affect it has is entirely different from what we do with traditional magic. To my mind and that of my mentors in the past, having that foundation is paramount to one's success.

I worked with big illusions for most of the first 15+ years I was involved with magic in that I thought that was the right direction to head at the time. It still amazes me however, how many big box performers don't know squat about the basics of magic and I'm seeing this same trend with everyone that's learned to spell MENTALISM and then think themselves a "Mentalist". . . they simply haven't caught on to why the basics are important and end up having to back track at some point.

My (still free) resource book on Mentalism is something you may want to take time to peruse in that it will show you the different divisions or kinds of Mental performance that exist as well as the contrasting schools of thought, of which there are now 3 very distinct "traditions", one being less than a decade old at this point but it has made a very definite imprint on the craft, one that is not necessarily for the betterment or advancement of the craft. You can find said book through the link above.

Best of luck!

 

[Magic swag]

If I had to start over again, I would definitely get the invisible deck, and Dresscode.

 

[krab]

If I had to start over again, I would definitely get the invisible deck, and Dresscode.

What would you buy two effects and not some books to get a basic education in the workings of slight of hand?

 

[Steerpike]

I worked with big illusions for most of the first 15+ years I was involved with magic in that I thought that was the right direction to head at the time. It still amazes me however, how many big box performers don't know squat about the basics of magic and I'm seeing this same trend with everyone that's learned to spell MENTALISM and then think themselves a "Mentalist". . . they simply haven't caught on to why the basics are important and end up having to back track at some point.

I can vouch for this from experience. Back in 2006 I picked up 13 Steps to Mentalism and my ambition promptly overshot my experience. Now that I've been focusing on mentalism full-time for about a year, it's significantly changed my perspective and I can see even more clearly where and how I screwed up. I wanted to be the one who did the most amazing tricks, not the guy who could read the phone book and make it sound interesting. Speaking of...

If I had to start over again, I would definitely get the invisible deck, and Dresscode.

Textbook case of putting the cart before the horse.

 

[Randy]

I would probably focus my efforts more on getting personal lessons and working toward what I NEED rather than what I WANT.

 

[Craig Browning]

I would probably focus my efforts more on getting personal lessons and working toward what I NEED rather than what I WANT.

EXCELLENT ANSWER!

Unfortunately there aren't enough quality teachers out there to go around and too, there are a lot of egos that want to charge rates that go way overboard while delivering little to nothing to the student.

Tony Slydini used to charge $300.00 PERIOD and in his philosophy it took as long as it would take for you to learn whatever you wanted to learn. . . it was a fee you paid for a lifetime of tutoring, so long as you weren't wasting his time. The old Chaez School of Magic I think was $1,000.00 toward the end of their run but you also had to invest about $3,500 or better into props. Catch is, more major talent and FISM award winning personalities came out of that school than you can imagine (along side a horrid number of clone acts).

When you look for a teacher find the quiet guys that sit in the shadows at the club meetings in that they tend to be the one's that have the better technique and knowledge and they are frequently the old salts that want you to prove yourself to them (they're more likely to pick you rather than you being able to solicit them)

99% of my Mentors over the years were just what I mentioned here, individuals that saw something in me and who decided to invest their time and resources. It's similar to how I've worked with a couple of people on this forum and @ E though I also have my fare share of young people that ask questions; thankfully, most of them aren't shooting for the stars.

The other way I learned many things when younger, was simply having a group of friends close to my age group, who got together regularly and exchanged ideas, critiqued routines and challenged one another. . . I remember one summer where everytime we got together I was getting tied up; they were determined to hold me but it never happened. . . "sigh' those were the days.

 

[RickEverhart]

Randy and Craig are most definitely correct in that a mentor, ( a good mentor ) can help you attain growth very rapidly if you are willing to put in the time and effort commitment. My mentor charged $40.00 for an hour and a half lesson. Sometimes that only entailed coming home having learned one effect, maybe two, however, I knew all of the subtleties, patter, misdirection moments, etc. that went with it. I didn't realize how important those things were in the beginning because I only viewed the lessons as "Crap, I'm only learning 1 or 2 things for $40.00 a lesson...this sucks." I'm glad that my mentor only lives about 5 minutes from my house. Sometimes things just work out.

 

[krab]

Randy and Craig are most definitely correct in that a mentor, ( a good mentor ) can help you attain growth very rapidly if you are willing to put in the time and effort commitment. My mentor charged $40.00 for an hour and a half lesson. Sometimes that only entailed coming home having learned one effect, maybe two, however, I knew all of the subtleties, patter, misdirection moments, etc. that went with it. I didn't realize how important those things were in the beginning because I only viewed the lessons as "Crap, I'm only learning 1 or 2 things for $40.00 a lesson...this sucks." I'm glad that my mentor only lives about 5 minutes from my house. Sometimes things just work out.

I got lucky in that my mentor didn't charge me cash. He had me do little things like split card make gaffs split thread roll reels. In the end he he for paid for his time and i learned how to make most of my own stuff.

 

[Randy]

The ironic side of this situation is that a good majority of the time when we are younger, we often do not know what we NEED, just what we WANT. But, then again. I've read studies that have shown that MOST people don't figure this out till their 30's or 40's. I myself am actually glad I started taking lessons, because it's caused me to work harder and actually learn things a lot quicker than if I learned it from a DVD or a book. (Things like misdirection, timing, cover and whatnot. Which a good portion of books or DVD's don't usually answer). Plus, If I have a question it usually get's answered directly.

 

[ChrisWiens]

I'd start with the foundation material -- slight of hand. I'd learn all the basics with cards, coins, sponge, rope & billiard balls and most importantly, how to work with a Thumb Tip. This is at least a year's worth of ardent work and remember, it's just the basics -- technique more than tricks per ce'. The second year is where I'd start applying that knowledge creating & perfecting fluid routines; at least 6 effects that were dependent on each of the moves, counts, etc. I'd previously learned. To the latter part of that second year I'd begin actually performing vs. showing tricks around here and there.

This is pretty much the way I would do it. With some more time spent on the basics, routines and performing, because I´m a rather slow learner.