Part One Aims and Priorities

In most magic, its frr as! can see, the plot I~. 1 wish for something. Iget it. And what I want (though many right-thinking persons might well ask 'tV7mateurlhy use does that tuucous geezerhanefora dove!'?'

The cause' in this case is the mnagician's will.' He wills it; it comes true.

This is not a drama about a human being. ft is the depiction ofa god. generally a capricious and trivial omit. And us just as dull as the biography of any omnipotent being would be. It contains not a smidgen of genuine cnimflul (again. think of standard card-fan productions, howrtc proficient). And without this conflict, the mnagkia.; in a posItion of god -f ike power at all flairs has ncr aflicker of humanity.

Now, lest you thick i'm talking about staging eucrything as a magic ptay (which generally reinit me) let me say at once: to be true conjuring, the ~cesw must be here in tin' theatre or the ca&zrrt or the rood; the time must be now at 7:10 pin. Philadelphia time. The characters roust, at least Ic some sense, include the magician, the audience, the stagehands, ideally the security guard. Here and now is all part of tire grammar of this art form.

Teller - from our conversations, Feb 2000

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