To adapt, or not to adapt, that it´s the question.

Discussion in 'General Discussion' started by RDChopper, Nov 15, 2012.

  1. I´m glad to see that the forums are still going strong, I come back from time to time ( Mainly because I struggle sometimes with my acces to internet) but it´s great to see new users that actually contribute something to the forum with thought provoking posts. :)

    I want to bring a topic of discussion to the table about something that I was thinking the other day.

    Not long ago, I remember discussing about Spectators, about if we need to either adapt to them, or make them adapt to our needs.

    For example, I for one strongly believe that we need to adapt to our spectators needs, Yes, we can practice a routine time and time again, but I think we should understand that every spectator is different and every one of them have different needs, maybe they don´t believe in magic, maybe they need proof ( potential heckler here :p ) , or maybe they just need to be enterteined by something quick and flashy.

    Thats why (In my opinion) we should learn to adapt on the spot to the needs of the spectator or the set (PUA term, means group of people) we can have the basics of the routine right on cue, but sometimes the patter we practiced for that trick doesn´t quite fullfill the spectator needs.

    On the other hand, I recall a couple of forum members that debated that the ideal for them is to make them ADAPT to us, slowly transform the needs of the laymen into our needs, so that the routine/performance goes right in the path that we want us to be.

    Every performance is like a road, either we adapt to the road the spectators have, or we make them adapt to our own.

    So, what do you think about it?
     
  2. I've only every experienced this doing my full ACR, I think you find that some people, mostly girls, are the kind that are really fooled by a DL. As mine isn't so much of a routine, more like a collection of phases that can be switched or removed, I tend to use different moves on different people depending on what I think will work best. Also the ending of the routine can change, I do either Card to mouth or a moving signature thing which I try and do as much as I can, as its extremely powerful, but requires somewhere to put half the deck down.

    Thats the only real 'routine' I have though, I don't think this kind of thing really matters for the more single trick kinds of performances I usually do.
     
  3. For single tricks or things like that, I think that the word "adapt" should´t be just for the sleights, also for the patter itself.
     
  4. I think that there should be at least a small boundary between the magician and the performer, where the magician could still make a connection with the spectators but at the same time both should know how to behave and react according to the situation. So it would be 50-50 for the spectator and the magician.
     
  5. I know a lot of us in this craft suffer from schizophrenia but what you suggest here seems awkward. . .

    But yes, you are correct on the idea that the "adaptation" is a balanced thing, not one or the other but more of a "dance". This is part of audience management skill that most only learn by way of doing the work. Too, because so much of this can be "intimate" the personality of the performer has a great deal to do with things. . . what I can get away with won't necessarily be what you can get away with and vice versa -- none of us are the same so there's no generic rule outside the guidelines encouraged by communications experts and acting coaches.

    I lost my bouncy Self-Improvement Tony Robbins styled character long ago because I don't like it. . . it's too fake in my mind and I believe that's how the public sees it; as a hustle! Some folks can carry this off and gain a positive rapport with others, I can't and intellectually, I know it's because of my own perception of such things. This is the stumbling block that prevents us from being able to "dance" with our patrons in the way they want to dance and too, how we need them to dance. Again, time and experience are the primary way of learning this waltz.
     
  6. Made my day!
    Anyways I meant the magician and the spectator
     

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