I know it isn't too popular on T11 but I'm sure some members can reccommend me a good book/DVD to start learning bizarre magic.
What is a good place to start learning bizarre magic?
- Thread starter dragon521
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Andrew Mayne is nothing but weird lol... also there's a couple of videos called bizarre magic on the market
Years ago I hosted the first major Bizarre magic event at a conventional magic convention. For that event, Craig Snader but together an Annotated Bibliography of Bizarre Magic. This was a list of pretty much all the books on Bizarre Magic at the time. I believe H and R Magic still stocks it.
Of course, The Invocation Magazines are a must read. Then consider the works of Tony "Doc" Shiels and Charles Cameron. Christian Chelman's two books in English are also to be studied.
As to the Caleb Strange book, I think you will find very little in it of practical use. Lots of fun ideas, but the problem with all bizarre magic is that most of these ideas were dreamed up by hobbyists who have never performed a single one of these ideas - let alone in a professional environment for real people who were not friends.
For a good "intro" text, however, I suggest Burger's Strange Ceremonies. His Spirit Theater book is also great is you are interested in Seances. Of course, Seance is the text for those interested in the latter.
Brad Henderson
Of course, The Invocation Magazines are a must read. Then consider the works of Tony "Doc" Shiels and Charles Cameron. Christian Chelman's two books in English are also to be studied.
As to the Caleb Strange book, I think you will find very little in it of practical use. Lots of fun ideas, but the problem with all bizarre magic is that most of these ideas were dreamed up by hobbyists who have never performed a single one of these ideas - let alone in a professional environment for real people who were not friends.
For a good "intro" text, however, I suggest Burger's Strange Ceremonies. His Spirit Theater book is also great is you are interested in Seances. Of course, Seance is the text for those interested in the latter.
Brad Henderson
Mayne does have wild stuff. I dont own it but heres a review of Maynia: Twisted Magic for Twisted Minds .
http://forums.theory11.com/showthread.php?t=3823
http://forums.theory11.com/showthread.php?t=3823
Bizarre is what you make it.
The 2 coins across but do it with large live bugs. then smash one and eat the other.
cut and restored rope but use a snake.
cups and balls but use real cups and real balls.
I understand, but I need some guideance. Most of the bizarre magic ideas I've seen on the internet are more corny than spooky (ex. "I was in egypt when the devil came out of the ground and gave me this necklace and he wants it back *execute vanish* etc.)
I didn't "see" anything. As for what I want to do, I want to leave people with a lasting feeling of subtle discomfort after they see me perform. Not like a "OMfG dAT MaNz AtE tEH ForKZ11111" but more a feeling where the performance lingers with the laymen for a while after and makes them question reality, albeit being a little scared at the same time. Thats what I want to do.
There I have to disagree. These are all routines Caleb has performed for paying audiences, but you don't buy this book for the routines themselves. To get anything out of it, you have to read between the lines.
That's not bizarre magic, that's just being gross.
As to Andrew Mayne, he does a lot of shock magic, but the only thing I would consider a more "conventional" bizarrist effect would be Ghost Vision.
As for resources:
The Book of Haunted Magick by Rick Maue
Capricornian Tales by Christian Chelman
Any of Docc Hilford's books on seances and mentalism
Any of Eugene Burger's books or DVDs.
"paying audiences"? In Caleb's statement's online he does not even make this claim. On what do you base this assumption?
In your experience presenting bizarre magic in a professional context, how do you reconcile some of the effects, their themes and the their requirements with contemporary theatrical taste and general respect of personal boundaries? (I am sure as a reader of the book you know the routines of which I am thinking.)
Finally, if the value of the book is what is written "between the lines: why then does the author not just present that content in a clear, concise, and engaging form rather than defining it by it's negative space?
B
In your experience presenting bizarre magic in a professional context, how do you reconcile some of the effects, their themes and the their requirements with contemporary theatrical taste and general respect of personal boundaries? (I am sure as a reader of the book you know the routines of which I am thinking.)
Finally, if the value of the book is what is written "between the lines: why then does the author not just present that content in a clear, concise, and engaging form rather than defining it by it's negative space?
B
I admit, it was an assumption on my part and I apologize.
I've talked about this all with a mentor of mine, and we both believe that in the proper context, any of these routines can be done in good taste.
The Vanishing for example is a routine that could only be done either as a publicity stunt, or for a group of regular clients who know you well enough to understand and appreciate the tone of the routine.
Why should he have to spoonfeed us the answers?
Using the performance theory and methodolgy of Hunting Mammoths in the Rain, I've come up with an engaging opener for a Civil War seance. The Koestler Protocol was the springboard for a show I'm working on about skepticism and the history of psychic research. The Vanishing has given me ideas to incorporate into my own version of Docc Hilford's At The Mountains of Madness.
No practical value you say? I beg to differ.
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If someone has something to say, and truly care about saying it - to the point of publishing a book, to obscure it from the purchaser is either cruel or self destructive. (We are no longer in the days of the Inquisition where alchemical texts were forced to conceal messages intentionally.)
That's not to say you can't learn something from anything. Some of the most powerful lessons I have learned have come from watching the worst performers. But to suggest that their value lay "between the lines"....please.
If someone were wanting to learn about Bizarre magic, Strange's book may well be the worst choice possible for their beginning. I have no doubt, Steer, that you were able to extract value from the text. But please reconsider the question and the querent.
Brad Henderson
That's not to say you can't learn something from anything. Some of the most powerful lessons I have learned have come from watching the worst performers. But to suggest that their value lay "between the lines"....please.
If someone were wanting to learn about Bizarre magic, Strange's book may well be the worst choice possible for their beginning. I have no doubt, Steer, that you were able to extract value from the text. But please reconsider the question and the querent.
Brad Henderson
I won't deny that. I've maintained from the beginning that it's a book intended to give food for thought to the more advanced magician.
And when you've reached that level, I don't believe an author needs to spoonfeed you all of your lessons. They can provide an illustration, a mild discussion of the aspects, and then allow you to find your own path.
My mentor has never taught me an actual script or method. He knows that if I want that, I can pick up 13 Steps or Modern Coin Magic or Royal Road. Those are magic's textbooks, the groundwork that we all start with.
Instead, he feeds me stories, experiences, ideas, and other vagueries with the occasional message at the end, and allows me to develop my own work from them. I now understand what works for me and why, so he simply gives me material for me to work with to my own ends. He doesn't have to spoonfeed me.
Steer, I think you are operating from an idealized position that assumes that everyone works like you do. They do not. While I am sure your approach is rewarding for you, not everyone has the resources, abilities, or work ethic that you may. To assume that what works for you will specifically work for them will not help.
As to the spoon feeding issue, Suzanne Langer's Philosophy in a New Key. Rather than spoon feeding you the answer, may I encourage you to check out this book. Not only could it have a profound impact on how you approach magic from an artistic perspective, but she will explain why this notion of "intentionally obscuring information otherwise desired to be imparted" run counter to ...well, I've said to much.
Seriously, great book and based on what you have written and how you have written it I think for you personally you might get a lot out of it.
Brad
As to the spoon feeding issue, Suzanne Langer's Philosophy in a New Key. Rather than spoon feeding you the answer, may I encourage you to check out this book. Not only could it have a profound impact on how you approach magic from an artistic perspective, but she will explain why this notion of "intentionally obscuring information otherwise desired to be imparted" run counter to ...well, I've said to much.
Seriously, great book and based on what you have written and how you have written it I think for you personally you might get a lot out of it.
Brad