These are just some ideas I wanted to share on how to build a diverse and effective repertoire. I know this is something a lot of us are constantly striving for, so I thought the topic was a worthwhile pursuit.
So whether you're looking to just add a new effect to the material you're already performing, or redesign your current repertoire, I think it's important to consider the following three categories: Props, Plots & Purpose when deciding on an effect.
So let's get right to it.
PROPS
When deciding on an effect to add to your repertoire, something you want to keep in mind is what props you are currently working with vs. what props you commonly run into with which you still cannot perform magic.
For example, is it worth your time to learn a third method of coins across right now, or would your time be better spent learning an effect with a watch, since you keep noticing the prop popping up while you’re performing, and currently have no effect utilizing that prop?
Take a look at your list of effects. Now go down the list and see how many different props your entire repertoire incorporates. Is it a bit one-sided or limited? Can you think of any props people commonly carry on them, or that you find in your regular performing environments, with which you cannot perform magic? What props would you like to be able to work with but can't? Make a list, then do some research on effects using those props until you find an effect that suits you.
A real magician would be able to do magic with anything handed to him.
PLOTS
Look at the effects you're currently performing. What are the plots you’re using?
For example, are the majority of your card effects based around changes? If so, then perhaps you should learn a new plot--cards across, a mind-reading effect, card to impossible location, torn and restored, etc. Think about it--do you really need to be keeping six sandwich effects polished? If you find that you're repeating the same plots regularly, then perhaps you need to diversify your repertoire a bit more. Think about the different types of magic effects there are (levitation, vanish, penetration, transformation, production, prediction, transposition, etc.), then look at your repertoire and consider how often the same effects are repeated in your plots. Are you more or less doing the same effect over and over again? Is there a magic effect you feel is missing and that would strengthen your repertoire?
By diversifying the plots in your repertoire you condition your audience into a state of suspense as you create the feeling that “anything is about to happen.”
PURPOSE
Purpose is a much broader category than the other two. Purpose refers to the role the effect is playing in your repertoire.
For example, perhaps you have a few effects in your repertoire that are “attention getters”—eye candy effects that get people to take notice of you. But once you have their attention, what are you going to do with it? Hopefully, not just more eye candy, but something that affects them on a deeper level. But to get to those deeper effects, you first need to get their attention—which is why both types of effects are important and serve a purpose.
Other roles of purpose would be:
• An effect that freezes the moment of magic and gives your spectator a magical souvenir that they can talk about.
• An effect that communicates something about your character. Garrett Thomas, for example, opens with his Ring Thing effect to show that he has the power to move lightning fast—an ability that is part of who he is as a magician.
• An effect that aids in marketing yourself, such as using Out to Lunch to hand out your business card so that your spectators will keep your card and show it to others and talk about you and the effect you performed.
• An effect that fills a need in your repertoire. For example, perhaps you want a hands-off effect your spectators can do themselves, either to give them the feeling of magic in their own hands, or to drive your spectators away from the hunch that the only method to your effects is some crafty sleight of hand.
To clarify, purpose does not refer to the quality of an effect (practicality, impact, reset, angles, etc.), but rather to the role the effect is playing in your repertoire. In other words—why are you performing it? What role is the effect filling for you?
Having a purpose behind your magic keeps you cognitive of your role as a magician, and helps you to avoid falling into the role of an unexceptional trickster.
In closing, I’d like to say I do not presume that this is the only way—or even the correct way—to design your repertoire or choose effects, but it is the way that has worked for me, and my magic has improved because of it. My repertoire has become sharper and more diverse, and my magic has become more meaningful.
Also, you should not hold all of your effects to the standard of fulfilling all three of these categories. Those effects are rare (and only exist because they are part of a larger picture anyhow). Rather, you should make sure that each effect in your repertoire is filling at least one category of the three above. If it isn't, you may want to reconsider the effect.
And lastly, the guidelines above are not in reference to substance--that is personal preference. I assumed in writing this that--for it to be beneficial in any way--you are already a good judge of what is and is not good magic, and what effects work for you as far as their practicality (angles, lighting, reset, pocket management, etc.) is concerned.
Hope this helps you in designing your magic as much as it has me.
Happy Magic,
Mat
So whether you're looking to just add a new effect to the material you're already performing, or redesign your current repertoire, I think it's important to consider the following three categories: Props, Plots & Purpose when deciding on an effect.
So let's get right to it.
PROPS
When deciding on an effect to add to your repertoire, something you want to keep in mind is what props you are currently working with vs. what props you commonly run into with which you still cannot perform magic.
For example, is it worth your time to learn a third method of coins across right now, or would your time be better spent learning an effect with a watch, since you keep noticing the prop popping up while you’re performing, and currently have no effect utilizing that prop?
Take a look at your list of effects. Now go down the list and see how many different props your entire repertoire incorporates. Is it a bit one-sided or limited? Can you think of any props people commonly carry on them, or that you find in your regular performing environments, with which you cannot perform magic? What props would you like to be able to work with but can't? Make a list, then do some research on effects using those props until you find an effect that suits you.
A real magician would be able to do magic with anything handed to him.
PLOTS
Look at the effects you're currently performing. What are the plots you’re using?
For example, are the majority of your card effects based around changes? If so, then perhaps you should learn a new plot--cards across, a mind-reading effect, card to impossible location, torn and restored, etc. Think about it--do you really need to be keeping six sandwich effects polished? If you find that you're repeating the same plots regularly, then perhaps you need to diversify your repertoire a bit more. Think about the different types of magic effects there are (levitation, vanish, penetration, transformation, production, prediction, transposition, etc.), then look at your repertoire and consider how often the same effects are repeated in your plots. Are you more or less doing the same effect over and over again? Is there a magic effect you feel is missing and that would strengthen your repertoire?
By diversifying the plots in your repertoire you condition your audience into a state of suspense as you create the feeling that “anything is about to happen.”
PURPOSE
Purpose is a much broader category than the other two. Purpose refers to the role the effect is playing in your repertoire.
For example, perhaps you have a few effects in your repertoire that are “attention getters”—eye candy effects that get people to take notice of you. But once you have their attention, what are you going to do with it? Hopefully, not just more eye candy, but something that affects them on a deeper level. But to get to those deeper effects, you first need to get their attention—which is why both types of effects are important and serve a purpose.
Other roles of purpose would be:
• An effect that freezes the moment of magic and gives your spectator a magical souvenir that they can talk about.
• An effect that communicates something about your character. Garrett Thomas, for example, opens with his Ring Thing effect to show that he has the power to move lightning fast—an ability that is part of who he is as a magician.
• An effect that aids in marketing yourself, such as using Out to Lunch to hand out your business card so that your spectators will keep your card and show it to others and talk about you and the effect you performed.
• An effect that fills a need in your repertoire. For example, perhaps you want a hands-off effect your spectators can do themselves, either to give them the feeling of magic in their own hands, or to drive your spectators away from the hunch that the only method to your effects is some crafty sleight of hand.
To clarify, purpose does not refer to the quality of an effect (practicality, impact, reset, angles, etc.), but rather to the role the effect is playing in your repertoire. In other words—why are you performing it? What role is the effect filling for you?
Having a purpose behind your magic keeps you cognitive of your role as a magician, and helps you to avoid falling into the role of an unexceptional trickster.
In closing, I’d like to say I do not presume that this is the only way—or even the correct way—to design your repertoire or choose effects, but it is the way that has worked for me, and my magic has improved because of it. My repertoire has become sharper and more diverse, and my magic has become more meaningful.
Also, you should not hold all of your effects to the standard of fulfilling all three of these categories. Those effects are rare (and only exist because they are part of a larger picture anyhow). Rather, you should make sure that each effect in your repertoire is filling at least one category of the three above. If it isn't, you may want to reconsider the effect.
And lastly, the guidelines above are not in reference to substance--that is personal preference. I assumed in writing this that--for it to be beneficial in any way--you are already a good judge of what is and is not good magic, and what effects work for you as far as their practicality (angles, lighting, reset, pocket management, etc.) is concerned.
Hope this helps you in designing your magic as much as it has me.
Happy Magic,
Mat
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