So, a couple weeks ago, I decided I wanted to get a perfect spread pass. I'm feeling pretty good about it's current state, so I thought I'd ask for help refining it as far as possible. Thanks in advance.
The pass does not need to be invisible. You just have to make sure no body sees it.The excessive handling is purely a technical demonstration. In an actual performance I might hold and transfer the break for a while before executing the pass. Right now I'm just looking to achieve technical invisibility. Anyway, thanks for the feedback.
The pass does not need to be invisible. You just have to make sure no body sees it.
The pass should be done so that nobody sees it. If people are grilling your hands, you don't do it. Work on making sure no one sees it, not to make it invisible. Why? Because in performance, you will not have that kind of lab setting.
Suit yourself. You don't need to misdirect them, just make sure no one is looking. If they are grilling your hands, you turn as you hand someone the deck and do it. You look them in the eye. Whatever.I know. But two things: first, there is a certain kind of spectator that is just about impossibld to misdirect. Second, I just don't care. I want to get as close to technical perfection as possible.
I'm not really a performer. I just want to refine my technique.Suit yourself. You don't need to misdirect them, just make sure no one is looking. If they are grilling your hands, you turn as you hand someone the deck and do it. You look them in the eye. Whatever.
I'm not really a performer. I just want to refine my technique.
@Maaz Hasan, the Spread Pass is a bit different than the classic pass in terms of the need for misdirection. The spread pass provides a justification for doing the pass in spreading out the cards. The idea is that if someone is watching the spread pass, all they see is spreading the card and then closing the spread.
Giobbi teaches that you should say something like "your card is somewhere in the deck" as you spread the card. I would add "but there is no way for anyone to know which card is yours" and then begin to close the deck. At that point, the audience's attention is relaxed because you are merely closing the spread. This is what is known as an "off-beat" in that you are doing something when the audience thinks nothing is happening. The only misdirection is to look at a spectator and ask something like "but you remember which card you picked?" As an additional note, the selection of a card and the return of the card to the deck should be treated as a "nothing" as something preliminary to the beginning of the trick. Again, this is the influence of the Madrid School and somthing I learned from Dani DaOrtiz in regard to forcing a card. If you treat it as unimportant, the audience isn't going to burn your hands.[/USER]
Very well said, that was super informative and I'm not even part of this conversation. Thanks Reality!@Ziad Khayat, I'm trying to convey that often less handling is more magical for spectators. Just because you can do something (like transfering the break or an all round square) doesn't mean you should.
Much of the problem I see with YouTube magicians is the incessant fidgiting with the cards. That removes all sense of magic and makes it more of a demonstration of skill. Demonstrations of skill may get you "likes" from other YouTube magicians, but real spectators will just assume "they are quick with their hands."
I am very much a student of the "Madrid School" of folks like Ascanio, Tamariz and Giobbi. Part of their philosophy is that every movement is justified and there are no excess movements. There also is an openness to the handling of the cards -- Giobbi's teaching of the LePaul Spread Pass has the spread done with both palms open and the fingers spread out. Much of the tutorials on Youtube for any sleight has the deck held close and frequently covered by both hands. The repeated squaring of the deck also gives a "closed" feel. The difference between an open feel and a closed feel is the difference between the spectator thinking the magician "did nothing" or "did something." The "did something" isn't magic.
@Maaz Hasan, the Spread Pass is a bit different than the classic pass in terms of the need for misdirection. The spread pass provides a justification for doing the pass in spreading out the cards. The idea is that if someone is watching the spread pass, all they see is spreading the card and then closing the spread.
Giobbi teaches that you should say something like "your card is somewhere in the deck" as you spread the card. I would add "but there is no way for anyone to know which card is yours" and then begin to close the deck. At that point, the audience's attention is relaxed because you are merely closing the spread. This is what is known as an "off-beat" in that you are doing something when the audience thinks nothing is happening. The only misdirection is to look at a spectator and ask something like "but you remember which card you picked?" As an additional note, the selection of a card and the return of the card to the deck should be treated as a "nothing" as something preliminary to the beginning of the trick. Again, this is the influence of the Madrid School and somthing I learned from Dani DaOrtiz in regard to forcing a card. If you treat it as unimportant, the audience isn't going to burn your hands.
Magic is a performance art. Your skills are good enough. Go out and perform for real audiences. That is the real thrill of magic.
first, there is a certain kind of spectator that is just about impossibld to misdirect.
I did say "just about" I am referring to smart, observant people with a slight knowledge of magic. Specifically misdirection. These people understand the idea of covering moves through misdirection and refuse to look away from your hands.No there isn't.
Then you wouldn't be doing the pass.... furthermore, am I right in assuming these people are mainly close friends and family?I did say "just about" I am referring to smart, observant people with a slight knowledge of magic. Specifically misdirection. These people understand the idea of covering moves through misdirection and refuse to look away from your hands.
If you have any in depth experience with the pass, you would know that every source states that the move is not invisible. Those same sources tell you that it doesn't need to be. It is only good with misdirection It is not a move that is done to show to other people. And let me just tell you, you wont get an invisible pass without misdirection. In fact, you will never technically have a 100% invisible pass because of angles.Yes. And my whole point is to get a pass I can do anyway. I'm not a believer in going halfway with things I care about. I want a pass that magicians won't see.
If you have any in depth experience with the pass, you would know that every source states that the move is not invisible. Those same sources tell you that it doesn't need to be. It is only good with misdirection It is not a move that is done to show to other people. And let me just tell you, you wont get an invisible pass without misdirection. In fact, you will never technically have a 100% invisible pass because of angles.