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^ under your hand or see the bottom of the deck unless you keen

^tilted down.

1Ve often seen magtcans control a selected card to the bottom of the IV then hold the deck ,n such a way that most of the aud'enre ¡5 clearly see the card on the face Other times they wdl S L aces for four kings, then hold the packet in such a way th* leople can see a king on the face of the packet. The performer Uumes that since he cant see it. no one else can. As magician, when we see such mistakes made by performers at lectures or magic conventions, we tend to turn a blind eye. Instead, watch these performances with a critical eye in order to learn what mistakes to avoid.

In addition to audibility and visibility, another major concern when working large audiences is making contact with everyone. You must make everybody in the audience feel they're part of the performance or you'll lose them. They'll start to drift away, either physically or at least mentally. Magicians who aren't used to working large audiences will sometimes direct the entire performance to the two or three people closest and ignore everyone else. The rest of the audience feels like eavesdroppers rather than part of a shared experience. Your most important tool in avoiding this problem is eye contact. You must continually look at different parts of the audience both close and distant. (I strongly recommend you study Juan Tamariz' advice in this regard in The Five Points in Magic.) Related to this, you must make sure you direct your patter to the audience as a whole. Don't talk only to the spectators who are assisting you in the trick. You must divide your attention between the assisting spectators and the rest of the crowd.

It's particularly important that you develop what 1 cull peripheral awareness. When a large crowd gathers to watch a close-up performance, many people will stand off to the far sides. It s ■■■cry easy to unwittingly ignore these people and direct all your attention to those directly in front of you. Remember, address some of your comments to those at the extreme sides and make eye contact with them also.

One requirement for working large groups that is difficult to describe is making the "size" of the performance a little larger You must exaggerate things just the slightest bit. Your gestures should be a little broader >(fur comnu'iit.H n little more ^^^L small group you must bnng the performance again othermsj. you'll seem too theatrical. Making the proper adjustment is a knack you'll develop with experience.

Strong Magic

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