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A nice touch might be to appear stumped at one uo' out the instruction booklet that comes with the ser m a trick fa,) then resume the effect successfully. If the perfoi ""»»glu right, the audience will recognize the talent und™"!1 d°es his i'k effacing performance and give him the applause" j 6 the lei desErves. acclaj^

Motifs

A motif should not be confused with a theme VW,» employed, it should run through evety effect Derf 3 theme ¡8 thread that ties aU the individual componentstogSf,? ,s th= smgle effect is performed that is not consistent with th.M, "" a whole act will suffer. A motif is not something that rurTtl entire act; rather it recurs periodically throughouthf!"fh'it performer may do one or even several effects that T . act motif but he will s«e the motif oftenS^hS^T™ * pve the performance a sense of continuity and aS^fe «Worn motifs in dose-up magic is the JJ 7

props used Zi e£ZMder °f ta other magic, the use of 2sas a m„Hf ^ touche8 -

Goshmans part a* will h7 u W 1S a co"m°us strategy on discusses by "y Gosh wh<S he effect should fail S °f 3 bi>' « átemele trick, is employed bv'nTp " by ^ P«formers in a and a continuing means nf „ j J SS " ™ntinuing source of humor W ioinE. He willp|a ™^ ° m °drSC,°nng thC ^Possibility of what he Efty dollar bill to the wkTr I W"h the sPectators, offering a again offering the fifty to ,hf,, plaj' blackjack with them, he Plays dice with the aud¡e«T ^ Sa™ 0Ífer is made turns nrtuaííy^et™''1"!'^.0"61 to gambling situations, Del Ray introducing the fifty dollar ¡ , 3 (™re-thing) gamble b, and even transpositions (his oreL , f lM=tt,ons. prediction effects, one point be varlea fte L^™'? ',on °f Challenge"). At mechanical bird if an effect shouldftjj by to «¡™ away his w'that the impact could diminish from overuse. Similarly, the ff r is certainly not in any sense his rationale for presenting the act. Therefore, it is not a theme but rather a true motif, which together th Del Ray's unit3ue and aPPealing character serves to make his act a unified, and very memorable, experience.

An important difference between themes and motifs is that while an act can only have one theme it may have several motifs. Here again, Del Ray's act provides an example. In addition to the offer of a cash reward, his act contains a second major motif, that of toy animals that act alive. The act opens with a rabbit that jumps to attention and closes with a mouse that locates a selected card. In between wc meet a frog that does somersaults and a mechanical bird that predicts the future. Throughout, Del Ray relates to these as if they were living creatures, and their behavior seems to justify his attitude. Toy animals don't turn up in every effect in Del Ray's act. Rather they recur from time to time, thus providing a unifying motif. My own work provides a perfect illustration of the difference between a theme and a motif. As I explained, in my gambling expose act crooked gambling is the theme. However, in my close-up card acts gambling is not a theme since straight card magic predominates and the audience realizes that the only rationale for the performance is to entertain them, not to educate them as in the gambling expose. However, in these close-up magic performances I do exploit gambling as a motif. Gambling routines are interspersed among the straight magic effects. Gambling terminology and gambling references abound.

Even several of the straight card magic effects employ presentations that touch on gambling-related topics. For instance, here are two examples from Darwin Ortiz at the Card Table. 'Darwm . Wild Card is performed with deuces and presented as an rfvh!

deuces are considered wild in poker. "The Lucky Deck which faces are printed onto a blank-faced deck. The deck , produced as having belonged ^^^^SSSVSES Feeling that these cards brought hun luik_he p.sj so much he eventually wore the faudl „ ropeatedly the primary function of playing^ , ,0 the underscored, providing a motif that imparts a unuj performance.

Strong Magic doesn't make the offer in every effect; he is wise enough to

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