cards, and handle the chips, in ways they've and may never have seen anyone else do. Yet n®Ver do«o m, are unnatural. It all looks perfectly natural b° °ne feels ft most efficient way to do those things. Peo ^CailSe it« cj probably the way they would do it themselves^ tK°n'Se 'hat"^ ^ these actions thousands of times and thus pe^'5 •«

economical ways of accomplishing them. ev°lved the*^

This is also why some of the most unnatural-looki seen in magic have occurred when a layperson "V^1!00* I've handling cards is asked to shuffle, cut, deal or perf * action with cards. He hasn't done these things ofte ^ 80Dle <nh!? evolved a natural way of doing them, a way that^01*6*1 to ^

There are two lessons to be learned from all this. The f naturalness doesn't come naturally. You'll have to devote a *tlla; of thought to figuring out how to perform the necessary If?"1 deal your effects in a natural way, always applying the two "" motivation and economy of motion. 8t* of

The second is that a naturalistic style is just one possible appr As an artist, you'll have to decide whether or not this is the kind r style you want to develop. However, naturalness in style is not mere! an option. It is a must if you're to avoid arousing suspicion in vo® performances. And avoiding arousing suspicion is a lot easier than quelling suspicion once you've aroused it.

par« Three

The Act

II doesn't matter how good effect is if it doesn

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