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Forewords by Paul Daniels and David Berglas

PERFORMING

A handbook on performance for magicians

TONY MIDDLETON 'I highly recommend that all those who perform magic be strapped down and force-fed the information in these pages.' PAUL DANIELS

PERFORMING

.:\handbook on performance for magicians

by Tony Middleton B.A. Hons., M.F.A.

PERFORMING MAGIC: AHandbook on Performance for Magicians ByTony Middleton First Edition, 2011 Published by Zebra Magic

.Zebr· a Magic Copyright 2011 Anthony Middleton. All rights reserved No pan of this publication may be ·reproduced, stored ortransmitted in any form or byany means-electronic, mechanical, photocopying, recording, or otherwise-without the written permission ofAnrhony Middleton.

Dedications

To my family- Mum, Dad, Rachael and Grandma And mygrandparents who have passed away. To Chris Dugdale, for his support, advice and friendship. To Phil Jay for his ld.ndness and wisdom. To Martyn & Sue Dias for their help with photography, and overwhelming generosity to others. To all my friends, teachers and fellow magicians, whose knowledge and wisdom is a part ofme. God bless you all.

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1highly recommend that all those who perform magic be strapped down and force-fed the information in these pages'

-Paul Daniels

'Ifyou are serious about performingmagic, you cannot afford notto have this on your shelf - DavidBerglas

ThiS book is a thorough, step-by-step guide that will help you create original magic, and discover who you are as a performer. 1

Whetheryou are a close-up magician, stage magician or cabaret magician, ifyou apply the techniques and information in these pages, your performance ofmagic will improve.' - JeffMcBride

'Mr. Middleton offers priceless tips and info about real world magic. This is a must read for any magician.' - David Stone

'The things that matter in magic aren't what magicians think of:first. Success isn't about being smart, looking cool or fooling other people. It's about._ well Tony Middleton lmows and he's written a great book about it. Everyonewho wants to work and keep working should read it three times in the first week and then once a month after that.' - Geoffrey Du1·ham

'This kind ofbook was not around when I started out, so let me tell you this; whenever I worked with Ka.rrell Fox, Charlie Miller, Billy McComb and Jay Marshall, I watched them over and over. They all have it. Very few performers are born with it. Ittakes years to perfect. This book tells you and shows you howtodoft. - Michael Finney

This is one ofthe best books I have ever read. This is bound to become a modem classic. I can't wait to meet you in person someday to thank you for writing it. Every serious magic student shouldhave this as required reading. -KevinJames

Thea'uthor Tony Middleton, lmown as 'Sonic' is a freelance magician and theatre director. He specialises in directing productions involving magic. He holds a 1st class honours degree in Drama & Theatre Studies from Royal Holloway College, University ofLondon, and a Master ofFine Arts in Theatre Directing from Birkbeck College, University ofLondon. His credits as a magician include performances at The Royal National Theatre,

Blenheim Palace, The National Portrait Gallery, London Zoo, The Landmark Hotel, Birmingham NEC, Old Billingsgate, Claridges, The Natural History Musewn, The Royal Hospital (Chelsea), and performances for or alongside Sir Roger Moore, Jools Holland, Will Carling, Keith Floyd, James Martin, Ray Quinn, Max Clifford, Shaun Williamson, Prunella Scales, Bradley Walsh and Blazing Squad. In 2010, he was engaged to perform on Sugar LoafMountain in Rio de Janeiro alongside the appearance ofthe 1970's world cup football team in the presence ofthe world cup. In 2011 he appeared on the series Penn & Teller: Fool Us on ITV. His credits as director, assistant director and magic consultant include productions at Nottingham Playhouse, Theatre bythe Lake, Riverside Studios, London Academy ofMusic and Dramatic Art, research at The Barbican for Theatre Rites, magic consultancy for Theatre Rites at the Ruhrtriennale Festival in Germany and live footage fon:he Britain's Got Talent Stage Magician kit. He is the director ofChris Dugdale's live shows and produced his west end debut; 2 Faced Deception, at The Leicester Square Theatre, as well as several productions ofAn Evening ofMagic& Mindreadingat Riverside Studios.

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The author

The author

7

Co11tents 14 Forewm·d by Paul Daniels 15 Forewo1·d by DavidBerglas 16 Preface 18 Thisbook 19 Introduction

25 Close up magicandstagemagic

Technical competence 30 Theatrical language 28

PART 1: FOUI\TDATION 33 A basis to buz1d upon

34 Be specific

37 Circumstance 38 38 41 43 43

WHERE am i?

You mustdress appropriately You must behave appropriately What can I not do? 'What can I make the most oft

45 WHERE have I just come from? 47 WHAT ami doing?. 47 WHY am I doing it?

so 52

8

WHAT has just happened? Abriefround up...

Contents

53 Character 53 WHOam l? 53 Great performers open themselves up for the audience 54 Great performers have the ability to play 54 Great performers communicate themselves emotionally 51 'The magician is an actor playing the part ofa magician' 59 Truthful acting is an extension ofyourself 6o Soul searching 61 The magician within you 62 'Me' and 'the magician'

67 Objective 67 WHAT do I WANT? WHAT is IN THE WAY ofwhat I want?

69 Strengthening and testing the objective ~

'Want' 01" 'Need' I1zorde1"towhat? The stakes 72 The obstacle 72 What do I need to change? 75 Multiple objectives 76 Concluding Part 1 70 71

PART 2 : STRUCTURE & DETAIL 79 Introducingpa1-t2

82 Strongmagic 82. It's not what you do; it's how you do it... 83 Economyinroutining 84 Awareness ofmoves and economy in movement 89 Working towards achieving specific visual experiences and visual moments 90 Significance 92 Understated 93 Stepping out ofthe 'daily'

95 Structwingyour act

96 Waysin 96 Theme 96 Associated material

97 Subsections 99 Transferable material 102 Cross-fem1ising 103 Find the effectfrom the object and developyour aesthetic 104 Thewall 105 Worldngconditions 105 Finding a hinge 106 Working backwards 114 Focus on the story, rather than the trick 120 Settling 120 Bouncing ideas offothers 121 'Hold on tightly, let go lightly' 121 Magic effects 121 Type ofeffect 123 Quality ofeffect 124

Structural tools

125 Theopener 126

Thejourney

127 Structural shapes 128 129

130 131 131

132 132

133

134 135 135

136 137

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Threads Continuation ofthe object Aproposition Thehook Through line Bullets Thekeymoment The big finish Joining sections Signposting Focus Applause cues Variation

ContellfS

137 Material

138 Speed 138 Duration 139 Tempo 140 Swprise 142 Billing one thing as another 144 Book end the show 1.44 Breaking the rules

146 The Changing ofthe Guard 146 The effect 147 147 147 157

Preparation Step by step Kicking off Concluding Part 2

PART3: PERFORMANCE 159 Introducingpart3 161 The shell ·163 Colour 1li4 Emotional involvement 166 Attitude 169 Effort J72 Whatisthepricepaid? 173 Scripting

175 Words 1']6 Quality ofspeech TJ9 Scripting action 186 The emphasis l88 The space between 190 Actioning

194 Rehearsal 196 · The rehearsal process 196 Process overview 197 1. Sourdngprops 197 2. Mastering specific sieights 197 3· Recreating the performancespace 198 4· Work through individual routines a minimum af3 times 201 5· Create a pocketplan and orpre-show checklist 203 6. Audience test individual routines 203 ?.Staggered run 204 B.Re-rehearseanysectionsorjoinsasnecessary 204 9. Full runs (at least2) 205 10. Speed run 205 11. Top&tailrunandothercheckingtechniques 206 12. Technical rthearsals 206 13- Dress rehearsal

208 Presence 211 211 212

215 216 218 219 219 220 221 222

225 225 225 226 227 227 228 230

232 233 234 235

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Control Present Focus & comminnent to each movement in rum Energy The ball oflight Marinade Move your mind 10{1othsbUt your bodY7/10ths 'Acting is reacting' Relaxation Ci1·cles ofattention Freeingphysical & vocal warm up In your body Attention, awareness, dynamic Attention Awa1·eness Dynamic Laban Planesofspace Motion factors The eight effortactions Usingtheefforts Freeflow and boundflow Action and intention

Contents

236 Carriage

337 Thepieceofstring 2J8 Light head and strong roots 2J8 Beingonstage 240 The seven rules ofpresence 240 Less is more

242 Key skills 242. Terminology Basic stage practice 245 Perform to the back ofthe room

us

246 Don)t turnyour back 247 Sight lines

248 Workingwith volunteers 251 Audience attention 253 Vocal clarity 354 The approach 255 Audience management 256 CoHditioningresponse

356 Buildingresponse 257 Maintaining attention 258 Dealing with volunteers 360 Maintaining relationships 262

A pictorial study ofreactions

272

PeJfonnance pitfalls

ZJ2 The performance pitfall checklist

275 Continuingwork ZJ5 Performance notes ZJ5 Notingyourself Zj6 Keep listening zj6 Watch yourselfback

:zn Ongoingpruning 278 Conclusion 282 Bibliography

- ---···········........................................................................................................--..·- ---13

FoTewoTd by Pavtl Daniels For far too many years now I have lecrured to magicians and almost always included the advice that they should ny to join drama groups to learn stage craft, and to take their acts to a professional theatrical director to get their opinions and advice. Here we have a book created by such a person, someone who has studied so much more than just how a magical nick works, someone who has studied the THEATRE ofmagic, whether that thearre is a table-top or a large stage. We live in an age where srudents ofthis great art watch a DVD and then become ofclone ofthe performer they have watched and I do know that the 'young' of today think I am crazy when I tell them to learn from books and that way they will simply 'see' themselves performing. I also tell them that ifthey get one good idea from a book then they should be well satisfied with their investment. In this book you will get not one, not two, but dozens of presentational thoughts, ideas, and tips that WILL improve your performances.

I highly recommend that all those who perform magic be strapped down and force-fed the information in these pages. Paul Daniels, 2011

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Foreword by Paul Daniels

Foreword by David Berglas

___

--··-..........................................-....................................................................................................

Tony Middleton has written an extraordinarybook on performance skills for magicians. Rarely does a magician have such insight into the performance of magic. He shows that it is not just tricks that people remember; it is the magician. This book offers a practical step-by-step guide to becoming a better performer. Anyone who takes the time io study their character and develop their dramatic skills will benefit hugely. Magicians concentrate far too much on aicks and not enough on developing their presentation. A serious study of this subject is long overdue. All the great names in magic have developed a unique style and placed the audience's focus on who they are. The magician themselves should be remembered above all else. I would recommend this book as an excellent companion to my.own; The Berglas Effects, as it offers excellent advice on managing audiences and building up routines dramatically. Ifyou are serious about performing magic, you can't afford not to have this on your shelf David Be1-glas, 2011

---··-····································..........................................................................----·----RJrrwanl byDavid Berglas

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PTeface 'Magic and tricks' In this book, I use the terms 'magic', 'effect' and 'trick'. However, before I begin, I must be clear about the difference between these terms. Magic really means something amazing and unexplainable, the effect is what happens and a trick is a dangerous label which can mean a variety ofthings. Magicians use the word trick to refer to an objeCt, effeCt, or even a whole routine. For example; the Three Card Monte, vanishing a silk, or dice bomb can all be referred to as a trick. It is a blanket term that does not account for the fact that the Three Card Monte comprises several dramatic phases. It is a routine of which the subjeCt is 'chase the lady'. Adice bomb is just a device you buy from a magic dealer- it's not a routine. It's a piece ofapparatus. The problem with the word trick is that it reduces the magic for the audience. Ifsomething is a trick, it is tricking them. This changes how they feel towards it. Do they want to be tricked? Probably not. When someone knocks on the door on Halloween and says 'trick or treat?' they really mean 'give me something nice or I will do something horrible to you'. Atrick is an unpleasant experience. To trick someone is tO upset them in some way. The word trick also implies that the effect is achieved via some device. In the case ofthe dice bomb, the object is referred to as a trick. Therefore, to the audience, the object is to blame. It does the work somehow. So suddenly, a 'magic trick' is some son ofpuzzle to be worked out. The audience wins ifthey can work out the puzzle and outwit the magician. Is that the kind ofexchange you want? Didn't think so. The word trick immediately implies a negative experience which is also a puzzle. Not a good start. Ifan effect is presented in this context, the audience will most likely feel apprehensive, and will adopt the mindset that ifthey can't

16

Prefaa

work it out, they are stupid. The trick undermines them because it is a challenge. They will immediately raise their defences. What's more, the word trick trivialises the magical experience. It turns it from something incredible and amazing into something cheap which has a simple explanation. The method may be simple, but the experience it delivers must be magical. Inexperienced magicians often make the mistake ofnor making their magic magical enough. The magician is not there to trick the audience or show them something clever or insubstantial. The magician is there to entertain and deliver an amazing experience. The words 'magic', 'effect' and 'trick' refer to different things at different times when used by magicians. I certainly avoid using the words 'trick' or 'magic trick' when speaking to lay people, unless I am demonstrating a seam. Magic is magic, and a trick is a trick- don't get them confused.

This book We all know that magic has a theatrical history and that like any other performance art, it is inherently abo.utshowmanshzp and performance. It is a form oftheatre. Bucdb::Weii~aJ.lyunderstand the implications ofthat? :.:_ ·i ·:·:t~}~ :. -~\ '

M~yJnfagi~ians utter a version ofRobert Houdin's words; · ·1[lhei11agidan is] an actorplayingthepart ofa magidan 11 •

...butwhat does that really mean? ...and how can we use it? I have heard magicians say things like 'the rest is all acting' What does that mean? What is 1acting'? Is it relevant to magicians? And ifso-how? From a directors·perspective, I would say that few magicians understand or use theatrical tools effectively. However... there is a goldmine to be discovered... ifyou know where to look, and what to do with it. My intention is for this book to open out magic in a way that helps magicians understand, analyse and improve their performance. I want it to be a tool kit that magicians can revisit again and again to develop themselves and their act.

' Houdin, p.;6

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This book

Introduction (Standing on the shoulders ofgiants' I used to pass a poster at school of Einstein that said cWhateveryourdifficulties in mathematics, I can assureyou mine arefargreater'. As I particulariy struggled with maths, I wasn't so sure about that. So it is with some apprehension that I start this book with a quote by Isaac Newton. (I was no good at physics either). However, it is important forme to acknowledge that nearly all ofwhat I know comes from much greater thinkers and practitioners than I will ever be. Without their genius, I would have little to say. I see a trend that has developed overthe last century, albeit a small one, ofmagical thinkingfocussed on performance. To identify this trend as something necessary to the future ofthe art ofmagic, I will call it cThe Sho~anship Movement'. While performance and magic are inseparably linked, just a handful of magicians have considered the performance ofmagic important enough to write something about it. I believe the movement starts with Our Magic written by Maskelyne and Devant in 1911, in which a significant number ofchapters focus on presentation and act construction. The baton is then taken up by Dariel Fitzkee in 1943 with his controversial book Showmanshipfor Magicians. In 1969 Henning Nelms published Magic and Showmanship, and in 1982 Juan Tamarizproduced The Five Points in Magic, followed by The Magic Way in 1988. Darwin Ortiz published Strong Magic in 1994 In 1995 came Magic & Meaning by Burger and Neale- although not strictly about performance, I include this book because it marks a shift in magical thinking towards the perception ofthe magician. Finally, Ken Weber published Maximum Entertainment in 2003, one ofthe most modem and relevant books on magical performance I have discovered. Although these books span a significant amount oftime, and come from authors all over the world, they have one thing in common: an interest in the importance ofmagic as performance. Compared to the hundreds ofbooks

Introduction

and DVDs about nicks, this is a small number indeed. Interestingly, none ofthese books have been written by an industry trained theatre director and magician. Although these past writings discuss magical performance in terms ofact construction, showmanship and technique, I don't think any ofthem provides a really comprehensive step-by-step guide to creating and performing an act from scratch. There are many dramatic principles, methods and techniques common in the theatre industry, which are practically unknown in the world ofmagic. These should be common knowledge, because they are tools that can help us develop creatively and shift our focus towards the performance ofmagic. Coming from a professional background in magic and theatre, I can see a big cross overbetween the two industries which, I don't believe has been fully realised. Magicians know about magic primarily in terms oftechnicalities. They are fascinated by the inner workings ofnicks. However, only a few magicians are really interested in what makes magic magical for an audience. But isn't that what it's really all about? Isn't the experience of magic what got you into it in the first place? Many magicians·are not natural performers. In fact, performance skills are not easily acquired by a great deal ofpeople, which is partly why actors train for three years at drama school. On the other side ofthe coin, theatre practitioners know very little about the world ofmagic and its potential for performance. Nor should they. Secrets are what set magicians apart from any other breed ofenthusiast. Both industries have a wealth ofknowledge and practical experience to offer each other, and I am sure that ifdirectors, actors, magicians and inventors all sat in the same room together, the general perception of magic would be in a completely different league to what it currently is today. There are some performers, and some shows, that have brought the two arenas together and risen to great heights as a result. However, the majority ofmagical performance is mediocre, small scale and sideline. One fact remains: there are more commonly known secrets about performance technique which magicians would benefit from ten times more than any nick. It is my intention to present those methods here, and help magicians to raise the profile ofmagic as a performance art.

20

Introduction

Forthe most part, what I am trying to achieve with this book is make the tried and tested techniques ofthe theatre director available and relevant to magicians. This book is intended to aid any magician, amateur or professional, in the difficult process ofcreating, shaping and pezforming their act. Unlike other entertainment, there is a lack offocus on performance in the magic world. Equally magicians, as solo artistes, suffer from a lack ofphysical support needed to raise them to a certain level in pezformance. It is almost impossible to take on several roles simultaneously and produce great work. You cannot be the director, playwright, stage manager, technical operator, designer, marketeer and give a great performance. Doing everything means you will spend less time practicing, rehearsing and pezforming-and will not reach the level you know you could, and should. I saythis from experience. I have made these mistakes and learnt the hard way. In a professional theatre, each ofthese roles is a separate full time job with a very specific training. Because ofthis, the workload is split between several specialists, making it much more achievable. What is more, several heads are always better than one. With several professionals working on a project, an idea can be bounced around and improved rapidlyin a short space oftime. So ifyou don't have any specialist performance training, and you haven't got a team ofpeople supporting you, how on earth do you go about creating or improving your act, and reaching a high professional standard? The simple answer is: don't do everything on your own. Develop a creative, magical and technical team around you whom you can trust, and focus yourselfon the performance ofmagic. This book provides you with a series oftools that canbe used to help analyse your act and focus your efforts towards achieving more as a performer. I have split the book into three distinct parts to help you considerwhat needs to be done to arrive at a successful performance. Ofcourse, performance is a highly changeable medium, and many things can affect it, but 90% ofthe time the quality ofmaterial, the content and the way you pezform can be controlled. Ifyou are confident with the standard ofthe show, then you will be building on a high base level, which means better performances in the furure.

lntrodUctiOII

21

By asking the right questions ofyour act and using the tools in this book effectively, you can significantly raise the standard ofyour performance. This book is split into three parts: Foundation, Structure & Detail and Performance. The first part starts by highlighting the importance ofbeing specific at any given moment. It's only a briefsection, but it lies at the heart ofthe director's work on performance. Ifyou know what you are really doingyou can question it orbuild on it Ifyou don't, you can't move anywhere. Then we look at the first tool for shapingyour act: the 'circumstance'. The reality of your performance and the circumstances ofyour engagement should heavily influence the choice and delivery ofyour material !twill help you decide straight away what is usable, and what isn't. We then address the other major influence on your act: you. Your personality and persona should drive your act -not the 'tricks'. The effects you perform should only exist to help you express yourself. The focus should be on you first, rather than hiding behind your magic. Following that, we look at a tool that actors use all the time to focus their efforts on stage-something called the 'objective'. Using this will further inform the creation and performance ofyour act. These foundation tools form the basis for the next part ofthe book on structure. In Part 2, we consider the impact ofcircumstance, objective and character on your choice ofmaterial and artistic process. We investigate the importance of the 'opener', the journey' ofyour show, and how you maintain interest and momentum throughout the act We investigate how you add detail and finishing touches, and we look at linking tricks together dramatically. Anumber ofuseful tips are included here ifyou get stuck moving from one effect to the next. On the whole, Part 2 builds on the core work from Part 1 and offers methods and tools that can help you create a meaningful, layered performance. The final part ofthe book is about the moment ofperformance itself; being onstage, or in front ofan audience. We consider the importance ofrehearsal and forming good habits that allow you to reach a higher level in performance. We will consider how you maintain freshness, vitality, energy and immediacy during your act, how to generate stage presence, and the key skills you need to be a successful performer. Finally, we look at how previous tools can help you ·once your act is up and running. Re-evaluatingyour act by listening to the

22.

Introduction

responses and changing as required is incredibly important in the long term. Your work certainly doesn't stop after the first performance. The tools in the earlier part ofthe book; specificity, circumstance, character and objective, which fonn the foundation for your act, may seem to be quite basic and obvious concepts. They are. But it is important to ask yourself whether they have really been fundamental to the creation ofyour act. Have you really been specific- and at every moment? Have you really structured your act to the demands ofthe circumstance? Do you really know what you want to achieve with your act? (Is the actyours- or have youjust copied someone else?) If, by the end ofthis book, you haven't answered these questions adequately-ask yourselfwhy not. Actors continually return to basic concepts like the objective to help guide them in rehearsal. These tools are useful preciselybecause they are simple; they stop you overcomplicating things. They establish £inn foundations, and continually offer something new. There are a number ofmore advanced performance techniques in this booksome ofwhich go above and beyond what is required by magicians. They are gems ofadvice from theatre practitioners, which can lift you to excellence in perfonnance- so I offer them with this intention. I must admit, I never thought I would write a book about how to perform magic, because there is little substitute for practical experience. Apart ofme has always thought-'what's the point in writing about it? You can't understand it unless you do it!' So what I have written is reallyjust the bare bones-and it is something that you must put into action, and physically experience, otherwise it will simply not make a difference to yourperfonnance. Theoretical knowledge will onlyget you so far. Ofcourse, the other side ofthe coin is; I have been there as a director and perfonner. I have made many mistakes and learnt many hard lessons. From my experience-good and bad- I can advise you on how best to tread the rocky road to performance. Ofcourse you will make your own mistakes, but it helps to be able to refer back to something, to have a guide, and to know that the author has been in your position, and knows what it feels like.

Introduction

23

This book is a toolbox to help you analyse your act and develop yourselfas a performer. Any experienced professional knows that performing magic is a continual process ofchange and re-evaluation. You must keep asking yourselfhave I got it right? How could I make it better? Clearer? More exciting? More entertaining? · You need to start thinking critically about performance. You need to question why something works or doesn't. You need to start thinking like a director. Are you ready to begin work?

Close-Up MagicandStagtMagic

Close-up magic and stage magic I have petformed as a magician at high profile functions and on stage. I have also directed magic shows in established London theatres and regional theatres. From this experience, I know that petforming close-up magic and stage magic is vastly different. The first major difference is that when an audience watches you in a theatre, they have chosen to come and see you. In a close-up situation, most ofthe time, the audience knows nothing about you. Quite often, they have no idea that they are going to receive a magic petformance in between the courses oftheir dinner or during their reception. In the theatre the audience come to you, and in close-up you go to them. The second major difference, as a result ofthe first, is the environment in which you perform. Atheatre space is highly controllable. The space can be set up exactly as you want it (in terms oflighting, sound, set, costume, stage configuration etc.), and the technical conditions dictate audience behaviour. For example; when the house lights go down, everyone falls silent as they know the show is about to stan. They sit in their seats, and (to startwith at least) you have their full attention. The light tells them where to look, and the atmosphere generated (a combination oflight, sound and other elements) tells them how to feel. In a theatre you can manipulate your audience however you want through a variety ofmedia In a close-up situation (e.g. corporate event or private party), the environment is highly changeable. Usually, you are not the primary attraction, and there are all sorts ofthings that distract your audience. You have to fight to maintain your position; it's noisy, people greet others they know, food arrives or is offered at inappropriate moments, waiters get in the way, people spill drinks, people are drunk, the disco starts early and so on. In these situations, it is necessary to have very good crowd control skills. You must make yourselfknown in that space and take a firm hold ofthe situation. You don't need to do this in a theatre, because the audience is already waiting expectantly-having paid to Close-Up Magic and StageMagic

25

come and see you. To use bold crowd control skills in this setting would appear unsuotle and crass. In addition, most ofthe time when you are on stage, the lights are shining in your eyes and you can't see your audience properly. Therefore, you can't engage with them in the same way as you can as a close-up magician. In a theatre, having set up the atmosphere, you need to simply present your act as you have rehearsed it, and listen for feedback from your team and those you trust afterwards. In a theatre environment, what you are actually doing at any given moment is

ofparamount importance-because it is your physical action and the visibility ofyour intention that engages your audience. Emphasis must be placed on the story ofyour act and a sound dramatic structure that draws the audience in and holds their interest. Your act must build up the expectation and impact ofyour magic, and take the audience on a journey. These dramatic rules also apply to the performance ofclose-up magic. However, the difference is that as a close-up entertainer, you have to establish yourselfwithin a foreign space. It is necessaryto createyour own theatre environment, and educateyour audience as to how to behave within it You have to let people know you are going to perform for them. It's amazing how manyclose-up magicians perform without the audience's full attention... You must define your performance space. You have to teach your audience to react during your act and applaud at the right moments. You have to tell them what to think and how to feel. Ifyou do all these things effectively you will engage your audience fully and give them an experience-rather than just demonstrating a few effects. Cabaret magic is interesting becauseit falls almost halfway berween close-up magic and theatre. The environment is more akin to close-up- i.e. you have to pull the audience's attention towards you (rather than let it wander to whatever

26

~UpMagicandStageMagic

else is going on arotmd them)-but the set up is more like stage. Because you don't have the proximity to your entire audience, you must also rely heavily on dramatic tools to maintain their interest. Proximity is the third major difference between close-up and stage work. When performing to a group ofpeople, you can make continual connections with them through eye contact, reassuring body contact, vocal participation (response) and physical participation (e.g. holding the card to be revealed). Establishing and maintaining personal contact is, in a close-up situation, paramotmt to the success ofyour act. On stage, you can't possibly maintain personal contact with all your audience. However, you can pinpoint cenain people or groups in the audience as pan of the format ofyour act. You must perform material that will read to an audience ofthat scale-whether they be at the front, in the middle, or right at the back. Everyone must feel involved or connected with what you are doing. The danger with theatre, and more so with cabaret, is losing the audience furthest away from you, becauseyou playto those nearest you who are responding. Whether you are performing close-up, cabaret, or on stage, you must make all the audience feel involved, whether they are passive spectators, or active participants. As a close-up magician, you should communicate through direct contact with your audience. In theatre, you have to hold contact through your expressions, movement, presence and the physical event taking place on stage. Your attention is a key tool for directing audience focus. You don't need to be looking at the audience, or even talking, for them to be absolutely gripped- but you need to be clear about what you want them to look at or listen to- and make it matter.

I have deliberately opened up the differences and similarities between stage and close-up magic before we begin so that you can stan to think about how the techniques in this book apply to your chosen field. Remember though, that drama is inherent to any kind ofperformance, and all three ofthese fields require mastery oftheatrical skills.

Close-up magicand stage magic

27

Technical competence Before you begin any serious work on creating an act, it is essential that you have the ability to execute a range ofmagic skills correctly and fluently. Ifyour technical ability isn't ofa good standard, you won't be able to create a good act. To the experienced professional this is obvious, but when you are just starting out in magic it is easy to get excited by new tricks, rather than focus on mastering basic techniques. Ifat this stage you know that the technical side ofyou magic needs work, and your understanding and awareness ofmagical principles needs broadening; go away and practice. When you can perfonn a number of core sleights and moves competently and deceptively, come back and read this book. Perfect the most commonly used techniques such as the double lift, the top change, the false transfer, and use the oldest most established magic books as your guide. You can't beat the Tarbell books, Greater Magic, Bobo's book on coin magic, The 13 Steps to Mentalism, and The Royal Road to Card Magic. Little is new in magic and almost all ideas come from earlier ones. Reading the tried and tested classics is a worthwhile investment. Itwill help you broaden your overall understanding ofthe art and practice ofmagic. You should have a stronggrounding in magic technique and theory, and the ability to execute moves without thinking about them. You shouldn't need to concentrate on the mechanics ofmagic when you perform. You should just do it Rather like driving a car, after learning there comes a point when you don't need to think about how to go from third to fourth gear. It's automatic. Only when you have reached this stage with your magic technique can you think effectively about everything else.

Technical Competence

There is no point trying to create an act with bad skills, because you will fall flat at a basic level. Your performance won't have fluency. Your sleight ofhand must become completely second nature. Magician's moves are readable to an audience when their handling and familiarity aren't up to scratch and he/she has to think about what they are doing. Tell-tale signs ofthis are: -

theyfumble theytenseup they stop talking (because they are concentrating on a move) they concentrate too much on the props (and not the spectator) their hands shake they look uncomfortable their flow is interrupted

In addition to this, some magicians cause themselves further problems by:

-executing sleight ofhand at the wrong time -executing sleight ofhand at the wrong angle Quite often the magician who has these problems isn't aware that they are detectable by the public. People won't always tell you ifthey have seen something they shouldn't, but they will think less ofmagicians and magic as a result. Make sure you can work to a high standard by only including things in your act when you have truly mastered their mechanics. To ignore this is to do full-time professionals a disservice. Once an audience has seen a bad magician, they will immediately think ofthat performance whenever they encounter another magician in the future, or hear the word 'magic'.

'Il1chnical competence

29

Theatrical language This book is about applying theatrical techniques to the performance ofmagic. As you begin reading this, you might be thinking: 'theatrical techniques only apply to stage performance don't they?' No. Any kind ofperformance, whether it's to one person or an audience ofa thousand, is a form oftheatre. It doesn't have to be on a stage. When someone chooses to perform, they must become a performer. In the moment ofswitching from a member ofthe public into the role of'performer', a theatrical space is opened up. When we think ofthe word 'theatrical', many things spring to mind- such as overly dramatic performances offamous Shakespeare speeches 'To be or not to be...' etc. This is not what I mean bytheatrical language. Remove any such cliches from your mind. In becoming a performer, you must learn how to move and speak in a way that is instantly engaging. You must find out how to create and inhabit the space around you. You must discover what it takes to make your performance interesting and watchable. The theatre director Peter Brook famously opened his book The Empty Space by stating: 'I can take any empty space and call it a barestage. Aperson walks across it whilst someone is watching, and that is all that is necessaryfor an ad oftheatre

to be engaged'2 Whilst Brook's quote is now something ofa cliche, he reveals a necessary truth: discovering a theatrical language starts when you are being watched. What happens to you, and your audience, when you perform? How do you feel? How do they feel? What is effective? What is engaging? What maintains interest? What gets a reaction? • Brook,ptz

30

Theatrical Language

To a lesser or greater degree, when you perfonn, you create a world for your audience to enter into. You create a theatrical space. Many people who read this book will not have trained in theatre. Ifyou are one ofthem, theatrical language is something that you will have to discover and nurture, ifyou wish to develop and improve as a magician. Awareness ofspace and your own presence are skills to be acquired and worked on. Don't worry ifit doesn't all make sense immediately. It will take time and you will understand more about theatricality the more you perform. Don't think, however, that I am asking you to learn a peculiar manner which you put on to showthe audience 'I am performing!' No. Being theatrical is not about being false or embarrassing. It's about beingwatchable. There's a big difference. This comes from communicating yourselfin a way that engages dynamically with the space and people ar01,md you. !believe there are three elements inherent in theatrical language:

- attention (to what you are doing, to others on stage, or to your audience) - awareness (ofyour body, rhythm, expression and performance space) - dynamic (ofwhat you are doirig- i.e. its impact) Explortngthese factors when you perform will lead to the discovery ofa tangible theatrical language. I want to put this in your mind now, but don't worry ifyou don't get it at this stage. Let it filter through. It is something we will investigate fully in Part 3· For the moment, just keep these ideas smouldering on the back burner...

Tl!eatricallanguage

31

Part1:

FOUNDATION

..................................................................... ......................................................................................................... 32

Part 1: FOUNDATION

A basis to build upon Part 1 is about building a strong foundation.

The way you begin thinking about creating an act and the questions you ask will set you on a certain path. Make sure that you are askingyourselfthe right questions; questions that will help you create a good act for the audience and environment you want to work in. It is easy to get sidetracked, forget the reality ofwhat you are doing, and whether your magic is really interesting enough to watch. Ask questions that will help you to achieve a higher standard and level ofdetail with your magic, and ask questions that concern the audience's perceptions or viewpoint. Each ofthe following sections, I would argue, are cornerstones to a good act. Although they may not have been used consciously as tools by magicians in the past-you will find these elements at the heart ofany good magic act. They are tools that are consciously used by actors and directors in theatre on a daily basis, and I believe they should also be in the vocabulary ofmagicians. Each ofthese sections will challenge you in a different way, and each will help you to build a stronger foundation for your act. Ifyou get the foundation right by thinking clearly and conscientiously enough at the start, the stages that follow and the detail you put on top will flow much more naturally. But, ifyou dash in without enough concern for logistical reality and without a clear idea, you may have to start all over again. (How many tricks have you bought at great expense and never used because it seemed like a good idea at the time?). It pays to ask 'why?' So as you make choices, keep questioning whether or not you have made the right decisions, and whether you are heading in the right direction. Remember the parable ofthe foolish man who built his house on sand...

Abasis to build upon

33

Be specific Specificity is one ofthe keys to successful performance. Ifyou can be clear about what you want, and why you want it, you can start creating your act because you have something tangible to hang on to. Most ofthe time, we magicians have fragments ofgood ideas swimming around in our heads, but there is nothing to pull those pieces together, no one to make sense ofit, or to effectively interrogate it. We can get very attached to our material and ideas, thinking that what we have decided ourselves is the right answer. There is no one to sift the wheat from the chaffand say- 'this is good' or 'no that doesn't work'. We lack a director. But more importandy, we lack direction. This is somethingwe can change. Ifwe conunit to something specific and say 'I'm going to create a piece ofmagic about ...',then the work can begin, because this idea can be pulled and tested. Ofcourse, the result may be that it is completely discarded- but you don't lmow that unless you identify it and investigate it as thoroughly as you can. It may be that the original idea is left behind, but it initiates a much better one. Many people are scared offailing and think that by questioning their ideas, they mayjust fall apart. Theywould rather keep the ghost ofit floating around in their imagination than lose it all together. It can be painful to open up something and find that it has no substance. But ifwe don't jump over this initial hurdle, nail what we are dealing with and be prepared to shred it apart, then we can't go anywhere. We will achieve nothing. Ifwe discover that an idea does come to nothing, we can start afresh

34

Part 1: FoUNDATION

and commit to a new idea. So although it may seem like a step backward, it is actually a step forward at the same time. More often than not, the process of thorough investigation results in the strengthening ofan idea. The tools in this book are weapons designed to help you interrogate your act effectively, and step forwards. In creating your act, be prepared at each stage to ask yourself: what's this about?

What am I reallydealing with here? Ifyou can answer that, then more often than not, you will stop going round in circles and will be able to see much clearer through the mist. Once you can encapsulate what you are doing, many other elements fall into place. Beware when things start to get a bit 'woolly'. By 'woolly' I mean undefined. This is a common word used by actors and directors. It can happen at any stage in the process; the initial concept, during rehearsal and in performance. Woolliness develops from not truly knowing what you are doing from one moment to the next. It comes from not being specific. It's all too easy to think 'I know roughly where I'm going with this, I'll just wing it'. But what separates an amateur performance from a professional performance is knowing an act inside out right down to the smallest details, so that every movement ofa prop is meticulously choreographed. This level ofattention and detail is the only way to achieve a totally seamless performance. It is onlywhen you really know these details that you are free to concentrate fully on performing. Othetwise your mind is preoccupied by keeping track ofthe nuts and bolts ofthe show. Consequently you are not truly communicatingwith your audience in the present moment Magic shows are complex because you have the props, gimmicks the audience shouldn't see, sleight ofhand the audience shouldn't see, set ups and so on. You can't afford not to know your act thoroughly, or not to be specific with what you are doing. The best performers are specific, clear, slick, economic and in control of themselves and their audience. .If a performance is woolly, and the audience doesn't quite know what's going on, then ninety-five per cent ofthe time this means the performer has not decided what they are doing, and doesn't really know where it is going either.

Be specific

35

Don't let this happen to you. Ifit's not clear to you, then it certainly won't be cleat to the audience watching. It is essential that the audience understand what you are doing and where you are going because otherwise theywilllose interest. Ifyou give your volunteer some money to hold and say 'At the end, I am going to steal this out ofyour hand while you are holding on to it', then your audience has a clear understanding ofwhat is going to happen. What's more, theywill try to make damn sure it doesn't happen! When it does, their reaction will be strong. It is often a good idea to put a clear 'signpost' in your act-foryour benefit, and for the audience. We will consider this and other dramatic tools further in Pan 2. Decision is a tool that leads to specificity and you must make decisions about your act. Decision making can be a painful process, as you may have to leave things behind, but it is a very good idea to whittle things down to a simple strong idea It's okto shelve some things for another occasion. What you don't want is an act like a tutti-fruiti ice cream that has 'a bit ofthis' and 'a bit ofthat', but doesn't really go anywhere. The audience needs to be taken on a clear journey. To create this often means you have to get rid ofa lot ofsurrounding stuff. Alot ofthe time it is best to simplify, in order to make something stronger. Success in performance lies in being specific, defined and consistent.

.Airt1: FOUNDATION

Circumstance When an actor begins work on a play, they ask themselves a series ofquestions: WHO ami? WHERE ami? WHERE have I just come from? WHAT am I doing? WHY am I doing it? WHAT has just happened? WHATdoiWANT? WHAT is IN THE WAY ofwhat I want? This fonnswhat is known as 'the given circumstances'.

Each ofthese questions forces the actor to be specific about what is going on, and to search out the active ingredients ofa scene, so that they can make informed decisions about how to act within it. They are like a series ofkeys that allow the actor to engage in a rational process ofanalysis and find their way in :o a character's situation. In short; the 'circumstance' tells the actorhow to act. There is an old cliche- 'acting is re-acting'. But like many cliches, this phrase holds a lot oftruth. The best acting happens when a performer engages with the given circumstances as though they were a reality. Stanislavski calls this the magic i,P. Ifthe audience can sense the concrete edges ofwhat is happening to a character, it feels real. It is not woolly or melodramatic, but true to life. The circumstance gives the audience something specific to hold on to, and it gives the actor something specific to play within. I think these eight questions are useful, not onlyfor actors, but also for magicians. However, I need to change their focus so that they address the reality ofperforming magic. : Stanislavski,AnActor Prepares, Chapter 4: The Imagination

Cirrumstance

37

The actor's work is predominately about the communication ofemotion. There are some elements ofthis which can be useful to magicians-but I shan't discus·s those until later on. In order to show the importance ofthe given circumstances for magicians, I want to investigate each ofthe questions in detail. The first question 'who am I?' is extremely important- so important, in fact, that we are going to look at that in a separate section titled 'Character'. Similarly, the last two questions demand a separate section, following on from Character, which I have titled 'Objective'. For magicians-I think it is best to start with the questions regarding the situation, and then think about character etc. Ifyou were to consider character first, you might do a lot ofwork and then realise that it doesn't fit the circumstance in which you are going to perform. There is so much magic which is unperformable because it has not been created with a particular circumstance and audience in mind. How many good tricks do you own that you can never find the right situation for? Even on stage in a professional theatre, where you have maximum control ofthe environment, there are several effects which are totally impractical because they cause all sorts of problems for the rest ofthe show. You need an act containing material you can really perform, and which is suited to the circumstance. This may sound basic, but it is amazing how many magicians get that wrong.

WHERE ami? Before you even start considering character, you need to think about what is dictated by the place in whichyou intend to perform.

You must dress appropriately Look at how people already dress in the environment you intend to perform in, and ask yourselfthe following: What are they used to? How do they dress? How do their superiors dress? Part1: FOUNDATION

How should my character choices relate to that? The visual status you present tells people what to think about you and hovl to treat you. Depending on the style ofyour act and the circumstance, consider whether you should mirror the people you perform for in the way you dress, so that you appear 'on their level'. This is cenainlyimponant ifyou are a corporate performer. However, ifyou are a stage performer, you have much more freedom to dictate your look, based on the style you have chosen for your production. And of course, whether you perform close-up, cabaret, or on stage, you may choose to presentyourselfin a completely opposite way to your audience. How do you .setyourselfapartfrom them? In a corporate setting, what about the way you dress sets yourselfapart from the event, but still fits within their norm? How can you look 'on their level', distinguish yourselfas 'the performer' and communicate something about yourselfand your character? What aboutyou communicates 'magician'? For an audience, there are obvious magic signals-playing cards, a magic vJ3Ild, white gloves and so on. As soon as they see one ofthese, the audience immediately understand that you are a magician. However there is a big danger here, as anything 'magiciany' can very quickly become cliche: wearing a tie with playing cards on, for example, looks naffand cheap. So ask yourself- what about me communicates magic, and what am I telling people to think about the quality ofmagic I perform through my appearance? People will make judgments even before you have approached them. In some cases it may be better to remain ambiguous. By not revealingtoo much, you can avoid pre-judgment, increase your status and cause people to talk about you. 'Who 7.ras that?', 'what was he doing over there?', 'what is he doing that makes them react like that?' :\nygood close-up magician will know the value oflettingthe audience's reactions inform other people about the quality oftheir act. W1tat do you want to communicate?

Make sure you are aware ofwhat your dress communicates to others and the conclusions they mightjump to. It would be a mistake to dress in a dinnerjacket

Cfr..ll11Stanct

39

and bow tie at most corporate events. 'Why? Because you will either look like one ofthe guests, orworse, people may think you are a waiter, and treat you as such. Ifyou are at a high profile corporate event, surely you want to communicate the high class ofyour act. Wearing an expensive designer suit, for example, communicates that you are not just scraping a living as an entertainer, but that your performances make you good money. For high flying businessmen, the phone you hold, the shirt you wear, the car you drive, the numberplate you have, all communicates 'success' and 'wealth'. It is a performance. I am not suggesting that you should necessarily buy into that mentality, but it is important to recognise that corporate companies don't want to book someone who is barely making ends meet, with worn out props. Theywant to book someone who is a top class entertainer, good for their company image, who they can show offto their guests. In many cases, magicians are booked to provide the icing on the cake at an event. Atop class magician adds something special, personal and memorable. The company in question is splashing out to communicate 'wealth' to their clients and make them feel valued. Whilst you shouldn't necessarily endear yourself to the audience, and you should keep yourselfat the heart ofyour performances, it is important to understand the context inwhich you perform, and how that might impact on your physical presentation. The exception to the rule is theatre. 'When perfonning on stage, you can present yourselfin anyway... provided it is in keeping with the style ofshow you have advertised. Ifyou are presenting Victorian style magic- then the classic 'top & tails' would be appropriate because it is part ofthe atmosphere and era you are trying to evoke. Ifyou are doing a magic showwith a rock & roll theme, where you perform big illusions to well known songs with disco lighting, then a leatherjacket and wacky hairstyle might fit the production. In theatre, the creative team make choices based on the product they are selling to the public. Something to bear in mind is that any article ofclothing communicates: a) era b) status c) location The material, and the way it is cut and decorated, indicates a specific period. Therefore, a leatherjacket may be more reminiscent ofthe 8o's or 9o's. Ifyou are presenting a modem illusion show, would a leatherjacket be outdated? 40

Part I : FOUNDATION

VJhat are the current fashion trends? What particular fashion might you include in the show and why? What does it communicate to the audience? .-mythingyou put on stage or in your act should be a considered decision. L11 a theatre production, everything is there for a reason and it communicates something specific to the audience. Before a director and designer work on the set, light and costume for a play, ~hey start with a blank space- the auditorium. Everything that is put into there is a decision about what they want to present to the audience. From the seating configuration to the colour ofthe lighting gels, every element builds towards a specific experience. You should think about the significance ofeverythingyou put in your act, and justify every element you choose to include. Whythat brand ofplaying card? Why those cufflinks? Why that prop? And so on. We will consider this further inPan2.

You must behave appropriately The way you move and interact communicates a massive amount to those you are in direct contact with and those who observe you at a distance. You should analyse higher status individuals for tips on gaining presence. What details in t..l-teir habitual movement communicate status? Their physical tempo? The posture oftheir body? Their contact orlack ofcontact with others? Actors are people watchers. Pan ofan actor's training may include going out to observe people and then recreating them in a rehearsal room. From the physical clues and experience ofembodying movements and mannerisms, the actor can begin to get inside the mind ofanother person.

Ifyou are a magician perfonning at a corporate event, you should watch how

people behave and ask: a) How can I move so that I emit the same presence as a high status individual? How can I command the space around me? b) What does my movement communicate or reveal about myself? (And do I want to communicate that or not?)

Cimcmstance

The quality ofyour movement; economic, grounded, generous, outrageous, cheeky, shifty, uncontrolled etc., whether conscious or unconscious, communicates something about you, your personality and the style ofyour act. Make sure you are aware and in control ofwhat you are communicating to the audience. Consider two other questions: a) What is acceptable (in terms ofbehaviour) in this setting? b) How far can I push the boundaries, safely? What is acceptable should be your guide orbenchmark. Think about how people would expect to be addressed in your performance environment, and consider how this might influence your approach. Ifyou perform for a group ofalpha-male cityboys, then cocky or cheekybehaviour might appeal to them and help win them over. However, ifyou pelform in a private room for corporate executives, this approach would not be suitable. 'How far can I go?' is an interesting question. How far can you push your audience within their existing setting and comfort zone? Depending on the situation, an informal or energetic performance Style could break down the boundaries ofnormality and allow the audience to enjoy themselves. Can you open up your audience's responses by being larger than life? How can you free them up? You do have some license as a pelformer, and you are there to entertain after all, so how far can you go? It might be advantageous to go much further with your behaviour, using it as a tool to either take hold ofthe situation, indicate the importance ofa certain moment in your routine, or tell the audience how to react. Whether on stage in a theatre, performing at a reception, or working the tables ofa restaurant, the audience needs to be educated. As the performer, you need to direct their attention, tell them what to think and how to behave. Conditioning and controlling audience response is vitally important, and will be considered funherin Part 3. We have begun looking at your physical behaviour as a performer, but ofequal importance is how you use your voice.

Partl: FOUNJ>ATION

Do you consider, plan and script the language you use? Do you consider your choice ofparticular words and phrases? This communicates an enormous amount to your audience in a short space oftime. In just a few words you can reveal information about your background, class, experience and status. This should be as carefullyconsidered as non-verbal communication. Think carefully about what you want the audience to think about you, and how you reveal information in your speech. We will consider scripting in Part 3·

What can I not do?

You can push and tease the audience, but there are certain boundaries that you cannot cross. Ifyou are not careful, you may never be invited back, and you may not even know why. Sometimes it is only the smallest ofthings, such as not being contactable before the event, arriving five minutes late, not saying goodbye to the booker, or one word or moment in your act that causes someone offence, or devalues your act. Consider what is expected ofyou and make sure you over-deliver, not under-deliver. \~then looking in detail at your act, ask the question 'what material do I currently perform that is 12otsuitable for this audience?' Ifyou are working in a corporate setting, for example, you should avoid anything that is too rude or suggestive-no matterhowfunny it might be-unless you have been booked specifically to deliver a blue act. However, ifyou are performing on stage in a comedy club, risque material would be fine. The circumstance dictates what is oris not acceptable. Be aware ofexpectations, the lines you cannot cross, and protect your reputation.

What can I make the most of?

Whether you are a close-up act, stage act, or cabaret performer, there are always elements ofyour circumstance that you can make the most of. As a magician, you need to think about how your environment can be used tactically, and how you can stay ahead ofthe audience. Each circumstance has its own rules. Think outside the box and figure out how a confinement or convention can become an advantage. For example, ifyou do a stage show, the audience will assume the production starts when they are in their seats and the lights go down. However, ifyou do pre-showwork, you can be at least one step ahead ofthe audience before you even begin.

Circumstance

43

Ifyou are a close-up worker, have you thought about the advantages ofpeople being seated around a table? You are able to focus attention into the middle of the table, and use the cover ofpeople's backs to conceal steals, loads and hold outs. You can even load things into people's pockets ifthey have placed their jacket on the back oftheir chair, because it is away from their body. Ifyou are working in a restaurant, and you perform there regularly, think about the possibility ofinvolving the staffinyour effects. You could have a signed card taken by a waiter and broughtback under a plate or inside a bottle ofwater. Using the circumstance to your advantage suddenly throws up a whole host of methods and ideas that can take your magic to the next level. The audience often only considers what is in immediate proximity to them, so consider employing methods that are outside oftheir circle ofattention. As magicians, we should make the most ofour gift, the gift ofbeing able to give someone a magical experience. We are blessed to be able to show people something that can release them from their normal, day-to-daylife. Ifa piece ofmagic is truly successful, the audience forgets the circumstance altogether, and you get incredible reactions. Ask yourselfthe following: - How can I burst the bubble ofthe circumstance and cause genuine amazement? - Whatwould be really surprising or unexpected? - What material do I currently perform that stuns people? (We are not just talking about magic that is 'ok' or 'good' here, but that which is truly astonishing in the minds ofthe audience). Ken Weber discusses the nature ofreal entertainment in his excellent book Maximum Entertainment'4. He defines it as something which makes the audience forget everything else other than the magic they are experiencing. How much ofthe magic you currently perform does that? When I lecture for a group ofmagicians, I ask them to write down a) their favourite effect in their repertoire, and then b) what the audience think their best effect is, or the effect which has earned them their best ever reaction. It's 4

See blbllography

44

Part 1: FOUNDATION

rare that these are the same because magicians are fascinated by moves and sleight ofhand. This holds little interest for the audience though, because they should never be aware ofit. As performers we should be thinking about the impact ofour act on the audience first, and our own personal interests second.

WHERE have I just come.from? To actors this question means - what is already affecting me? -~magicians I think this can be very useful to consider for two reasons; firstly it

allows us to think about what our audience picks up from us, and secondly, it allows us to take control ofwhat we present to others. It could be that you have had the most terrible time getting to a private party, or you have just received some distressing news. Whatever might have happened is irrelevant when you walk in to perform. You cannot communicate any ofthat to the audience. The audience doesn't care about your personal circumstance. You have beenbooked to deliver a professional quality act, and that's it. You need to focus on the job in hand and put everything else out ofyour mind.

Once, I did a close-up gig at The National Motorcycle Museum in Binningham. I parked up in a hotel car park a short drive from the venue well in advance, and opened my car boot to set my props. Ileant forward to pick up a case, and as I did so, I caught my hand on a small nail sticking out from it. It cut right along the edge ofmy palm. After having put pressure on it for several minutes, when I closed my hand, the cut opened up again. I tried putting a plaster on, but it just fell offbecause ofthe awkward positioning. I looked around for another solution. There was a chemist down the road, and I managed to buy a product called 'spray plaster'. It stung like hell, but it managed to hold the cut. So, I went to the venue as though nothing had happened. I met the booker in my usual professional manner. She explained there would be a speech before dinner, so I should hold back before entertaining the tables. As she shook my hand, she squeezed it really hard. I managed to maintain a smile. When she went out I took a glance at my hand-it was still just about ok, so I went confidently on mixingwith the guests at the reception. All was going quite well, but near the end ofthe halfhour, a spectator congratulated me, said how amazing he

c:mmzstarrce

45

thought the magic was, and shook my hand vigorously. The bell then went for people to take their seats for dinner. I swiftly moved out ofthe reception room and looked down at my hand. There was blood trickling down and dripping off myfingers. Luckily I had a short break, so I found the nearest toilet, cleaned it up and a re-sprayed with the spray plaster- double the amount this time. It held just about ok. After a few deep breaths, I went out and did the rest ofthe gig as normal, and I don't think anyone had any idea what had happened. The audience doesn't care how you feel or what has happened to you. Theyjust want to be entertained. My advice is: do the job with full commitment, or don't do it at all. Incidentally, I now carry spray plaster around with me to everygig, just in case. Spending time thinking about how you present yourselfis very important. I am not just referring to how you come across in performance. It extends much further than that. How do you sound on the phone? How do you relate to staff and guests before the gig starts? In a theatre venue, everyone talks to each other. Ifyou are condescending to the box office staffor cleaners, and only put on a nice face for the people who are givingyou a job, it will come back to haunt you. Plus, I think it is our duty as entertainers to instill excitement in others from the moment we arrive, not just in our act. We need to be entertainers in everyday life so that people will say 'that person is fun to be with and has something special'. People should book you because they want you rather than anyone else. Your character and the way you relate to people socially and professionally are ofparamount importance. A good question to consider is: What do I wantpeople to think orfeel about me?

This will help you in making decisions about how to present yourselfto others professionally. Remember also that thewayyou behave and interact with people prepares them for your act It is in fact a way ofchanging their state into one that makes them more receptive towards receiving and enjoying your magic.

Part 1: FOUNDATION

WHAT am I doing? As with all ofthe questions, 'what am I doing?' once again forces us to be

specific. Clarity is absolutely key. Here is a powerful rule worth observing and applying to your act: - an audience is only interested when you are doing something specific. There is no point beingwoolly or hazy. You need to be prepared to shake things up and ask-what's the point ofthis effect? What am I actually doing with it? Is k really any good? Does it suit me? Axe you just copying something because it is ~~-y? Don't just settle for mediocre. Make your magic different, clear, dynamic, and consistently interesting.

Here is another closely related rule ofperformance: - something that is DIRECT and ECONOMIC is usually much more interesting than something that is UNFOCUSSED and DIFFUSED. ~1akeyouractionscount

In Part 2, we will go into all the various techniques ofhooking and maintaining

attention; using rhythm, tempo, propositions, signposts, objectives, actions, a.;."titudes and so on. These are what we call 'tactics'. For the moment though, mink about whether what you do, at any given moment, holds the audience's interest This will reveal what you can take out ofyour act It will help you to see ~"