Nor Rigid

Although there is a definite working order, this order is not completely rigid. One can and must at times take a step back and adjust; but these adjustments will be small. Plans will no doubt have to be revised here and there. Things that you overlooked liave to be incorporated as best you can. The order is logical but a little loose as well. If we didn't allow a little room for adjustments, we could still end up with a ruin instead of a house. However, the order can't be too loose, or you'll find yourself with a mess like our first one.

Having a fixed yet realistically flexible working order is just as important to creating a magic effect as it is to building a house; and interestingly enough, the steps and their order are essentially the same. First...

IhF. 1 )RFAM: What would an cxciting effect be? What would you, as a spectator, like to sec from your dream magician (which, in this case, is you)? Dream and be free. Don't think about technical details. Dont let such things worry you. These concerns come later. Of coursc you can take certain things into account (just as you considered the location of your dream house, perhaps you could allow for venue here), but be sure this effect is the most exiting and beautiful thing you can conceive. Make it worthwhile. Make it the way you feel magic should be. That isn't too difficult, because you're free: Nothing bodiers you, nothing stops you from doing what you want. In your dreams you're completely unrestricted. Then solidify the dream. Dream until all the details are clear to you: every movement, every word said, every prop, every procedure, (l or more on the dreaming process, see "The Mind

the TECHNICAL Details: Once your dream is fully envisioned, fully to your liking and the best magical effect you can possibly imagine, you can begin to fill in the technical details. You now create a method that can support your dream, that can realize it widioui letting it collapse. At this point you might need to take a step back if you run into insurmountable problems. You might need to cliange a detail or two in your dream, something minor that does not affect the whole. However, if you need to change so much that the creation you make ceases to look like what you have dreamed, you had better surmount that insurmountable problem or forsake the whole thing. \ou don't want to build an effect that is less than you intended it to be.

THE BUILDING: When you've decided how your effect should be built you can start building. During construction, again you may find iliat certain details created in the previous step have to be adapted. Do so, as long as these small changes don't alter your dream.

IT's Ready—time eur adjustmen t: You are now ready to start performing your effect for people. You may find over time that a certain move must be changed a bit because it sometimes gives you trouble. You may find that something must be done more slowly or quickly to have the desired effect. Of course you keep your eyes open. "Will it affect my guests, my audiences, exacdv as I intended it?" I'm not speaking so much about how well your audiences receive the eflect, but whether they are receiving the effect you intended. If you diought, "I'll do this and that, and surely the audiencc will understand what I mean,"

but in performance everyone interprets it contrajy to expectation, clashing with your dreamed effect, you must then adapt things until it affects people prcciscly as you intended—until the audience hears and sees exactly what you wanted to tell and show them—until your dream is prcciscly communicated. For only then can your audienccs cxpcricncc what you wished them to. You are then giving them the purest gift possible from your imagination.

Tliis, dien, is die basic working order: Dream first; make die dream a reality; dien, if necessary, adjust details to make the dream understood. There is a distinct order to the steps, which is neither too loose nor too rigid.

0 0

Post a comment