Xya hknow 8he S

Furthermore s.ncc you had the opportunity tn watch her dunng the 'vious performance, you know how expressive she i8. A spectator ho reacts strongly and comes back for more W1„ ^ » ¿operative spectator. She 11 be perfect to help you in the next set. ,D s0me performing situations, you may do walk-around maKic during the early part of the evemng and a sit-down show at the end The theory remains the same. The ones who reacted the best during walk-around will make the best assistants during the formal

If you haven': had a lot of experience performing, you might think it unlikely that the faces of people in a large audience will stay in your raind from one set to the next. But any experienced close-up performer knows that the face of every person in the audience gets etched in your mind for the duration of the evening. (If that's not the case, it means you haven't mastered your material sufficiently. You're too absorbed in what you have to say or do next to relate to the audience.) Indeed, often during a performance I will notice a particularly responsive woman audience member and make a mental note to select her as an assistant if she comes back for a later show. One final word about who to avoid choosing as a spectator. In addition to the obvious ones, the drunk, the stone-faced, the bored, and the compulsive talkers, avoid anyone who seems very eager to be selected as spectators. These people want to come up because they like being the center of attention. But during a show you have to be the center of attention. Don't make the mistake of confusing expressiveness with extroversion. Unless you want competition from out-of-control extroverts, avoid the ones who are dying to be chosen.

Getting Them Up from the audience? ,,„«„„„

Invariably, what happened ^^¡J^

Everyone sat silently and tenseiy a»

volunteer. During this interminable wait, the perform nothing-; he only stared out at the audience. er Sf,1d anj ^

Eventually someone would decide that anything was b uncomfortable silence and would step forward. At th ^ this effect, the performer would dismiss the assistant ^ of the wanted to do another audience-participation effect the S°011 aa He begin again, .Ail told, this little exercise in tedium occuT h half-dozen times during the lecture. abo^t a

The most obvious error this performer made was to kpp assistants back after each trick. Once you have a tl^

assistants up at the table with you keep them there. It d P Soot* if they don't have something to do in every trick. They ca,jS^-!,fflatter and react. His second error we've already talked about R asking for a volunteer, he was relinquishing the power to 'V.Sln,pfc' promising assistant. choosy a

This episode also illustrates the larger point that if you don't u how to get a spectator up from the audience quicklv it r«™ pacing of the show nght at the outset. Once you've settled on a^ ^ you want to have assist you, look at her, point to her, and ask uT would be kind enough to come up and help She mav ñm / she realize you're talking to her. If so. identify her TL ™^ as, "The lady in the red dress, would you plea" cTme Occasionally, the person you ask may demur. She mav shalT k

Everyone wanted tlVIl f'f lhe 'ecturer I cited, about the wait But noZ £h and e™*one &It uncomfortable the show. „ no 2 ™™) ' PerMn!,lly «sponsible fcr holding up s: 1 1—^

lent like it, you can go right Jk^-4 C°UI"e °f mmutes and' ^ that and I've never had anvon V ™ neV" had an»°™ »fuse after show was over. As long as vo,, 7 S° back to their seat before the you know your job. before lone S?" C°me up' And' assuming Since I realize some * she did.

explain my reasons. First „ thf1?d,>™ I'» eiving here, let me want to come up and help sh,Tl , """ if a spectator doesn't come up. Again I remind youdo," " >OÜS* assistant if she doe, verted. .An ertrovert will come ™ ™nfUBa "Passive with extro-"mnB "P ^t may give you trouble erformance as Bhe tries to get the audience to pay hWufhe1,t ^ instead of you. A more reserved person may be 'Lotion to !Lm8 up. But once she does come up. she'll be "luctant to yQU ch08(, weil and if you put her at ease operative- . be expressive. The assistants who are initially

^mediate!*'- s ^ always 5Eem to be the ones who have the best time ^e most table with me. They're nlso always the ones who

,«ce warmiy after the show for letting them help, thank ffle s;der tj,e alternative. You ask a spectator to assist, furthermore, ask another one. 1 guarantee that I can predict she declines, ' semnd on5 you Mk wiU als0 decline. And

„hat WiU napp As BMn as the „„aience realizes that all

50 tn do to get off the hook is to say no. everyone Will say ao.

Tsnend a few moments being firm with the first person you W'Th£l spend a half-hour going from one person to anothsr

tt-idi expenen« , on ^ determin.tion, don . take no


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