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In some card effects, it's important that the audie fact that the cards were shuffled by a spectator at th "

but effective way to dramatize this is to ask three diff"1'®'^«!! t to shuffle consecutively. erent apEct^

Harry Houdini was a master of dramatizing condition

Can Escape," the most important condition was the fjTi lji5 "MiH

under water; he couldn't breathe until he escaped Tri^d he would begin by asking how many people in the au/31"3^ they could hold their breaths for one minute. After a sh ^'^T he would ask everyone to hold their breaths while he T" °f Spectator after spectator would eventually mve im jmeii Essoin? for breath. Pl "«PeraM,

Later, when Houdini was struggling to escape, a laree „!„ i count off the seconds. With the memory of their own exoer in their minds, the audience's alarm would grow as the tin past the point where they had been able to hold their breaTL" other presentational approach could ever have eott™ +1, What Houdin, must be going through the way thl one did *' When Houdini did the escape from seventy-five feet of rope h, vm toupTn hfjTd h°W l0ng ituta°k the aUd™ volunteers tott, inTesTtW1 . ^ ,T™Ce that he ™uld f™ & »

V ,fen "lem 10 restrain him' If audie^ eS,™ i ? °f dramatizing a condition is to have (to person faX gS'10"' many "meS h3Ve

» comment sur-h Ascription of an effect he's witnessed with

Joe's deck of cards!" fled tile cards myself." "Anl [t ™

Aces" the most powerful leader packet until the thl; Perf°™er n<iver touches the by placing a oanerw»,.Jery ?ndl You couU dramatize this condition

^e paperweight wol ™ f® leader Pack<* * «tart of the trick.

you Could dramatize th ? removed until the end. Alternative!?. hand <» the packs, wL u""1 by ha™B a spectator place her ' not to lift her hand for even w

Strong Magie

^'^Lring U16 trlck-,Tf; much more conducing.

lief bfln ,.„„■ this concept can be npp^ „„„,,,H(1Iv^the fact


Tlier« „rv effectively sell tlie n -Copper-Silver

** thei,5' or ''Coins Across —-by J^a e holds his right wrist.

«SSSSswrist certa.n pn)p

'tli0rffl ,„„ want to sell the ¡^fZZ™ raemher of the audience

»"i0'7 ou want to sell the mbTrof the audience supp0l Tthe effect. You can single out one

Thia 13 an ,iea

"fXr the borrowed deck has been shuffled by a menti0a , LtTta^ proceed to cut to the four aces. I do th« wMe SrSdoSy I doni use blindfold.

blindfolded. ^ he taHei J have a female spectator stand

Instead, as I' with her handB. This offers an bf 1 ™ niacin; ^ t SL far !ess time than most blindfolds advantage * pacing srn^ elinlinatea the time^oneummg tEqTs 7hav"/a 1 nLd tested by audience members before the sto^ of the trick ^o prove that it's not glmmicked; the spectator's hands are above suspicion.

My main reason for taking this approach, however, is that having an audience member «'enforce" my blindness is the strongest way I can dramatize the sightless condition under which the effect is performed If you think it makes no difference if the trick is done with a cloth blindfold or a "human" blindfold you still haven't grasped the central fact that strong magic is about emotion, not logic. If you do appreciate the difference, start looking for ways to dramatize key conditions of an effect by having the audience "police" those conditions themselves. You'll start hearing laypeople glowingly recount your effects to others, ending with comments like, "And I never took my eyes off that box," or, "And they never let go of his wrists," or, "And she covered his eyes the whole time!"

Through Images: Never underestimate the power of mere words to forcefully drive home a point. For best effect these words should evoke concrete images in a spectator's mind. The abstract speaks to 6 inte'lect; the concrete image speaks to the emotions and instincts.

Darwin Ortiz

That's why a charity will select an annual p0ste they can cite statistics about thousands of child * °hild- The won't move most people to action because statistics" 8uffenrJ kt|> intellect. Yet a photograph of a single child in need8^1 ^Vt? donate because it's a concrete image that cutg dir W, 6et PeoS^ tions. That's what you have to achieve with your words t0 the e ^ Peter Duffle published an effect in which two car/ spectator are torn in half. One half of each card is the** f^0^ by an envelope that had been handed to the spectator bef . ed- Th5 his cards is opened; inside are the two halves which a m v were unmistakably destroyed. m°ment earlit*

For this effect to register strongly, the spectators must belie

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