How to do Magic Tricks

Advice and Support for Magicians

3 Questions to Ask Yourself About Your Magicians Props

by Dominic Reyes Leave a Comment

magicians props that don't make sense

By Dominic Reyes

Have you noticed that many magicians perform magic tricks that don't make sense? Why would someone turn a red card box into a blue card box, push a coin inside a bottle, or produce a load of silks out of thin air? 


Many props that magicians use, only exist because they are used by magicians. Strange fake flowers that appear out of nowhere or little red balls that multiply in the spectator's hands. More often than not, no explanation or justification is given for these strange objects existence other than as a tool for something odd to happen.

Magicians Props upstaging the magicians

If you use magician's props that are unusual or obviously a 'magician only' device, your audience will be interested in it for its own sake. This can be a problem if it causes your audience to focus on the props rather than the magic you perform with them. If you are not careful, the audience switches from experiencing the magic, to watching a 'puzzle', as they attribute the magic to the props you use. That doesn't mean they don't enjoy it, only that the magic is seen to come from the props rather than the performer on an unconscious level. It's a subtle change in perception in the same way that a film going audience can end up paying more attention to the impressive special effects in a film rather than the actors.

The magical box's or equipment you use should not be the star of the show. If you do use a strange prop, keep yourself and your presentation the centre of attention as much as possible. Don't hide behind your tools, leaning on them to amaze your audience. It's more important that they remember YOU more than the effects.

Why I don't like wonder.

I've never liked the word 'wonder'. To me, the word means to 'puzzle over'. A person wonders how the trick is done. 

The goal of your performance is that the audience experience something impossible and be amazed, rather than to be presented with a series of puzzles to work out. You want them to be surprised, spellbound, and emotionally captured. The impossible events they witnessed should be from 'magic' and that's where the entertainment should come from. If you perform with a series of obvious props, you risk the audience switching from amazement to simply wondering how the trick was done. 

Puzzles are still fun, and many successful magicians only present tricks in this way, but it's possible to take almost any trick and adjust the way you present it, so that it stops inviting the audience to 'wonder' about its method. When a trick is performed in this way, it becomes more like theatre and art.

How to justify your magicians props

If you are going to use a strange prop, justify why it's being used through your presentation and storytelling. If it's not clear why a prop is there, your audience may assume it's there because IT is how the magic trick is done.

What possible reason is there for anyone to even use one sponge ball, let alone a whole hand full of them..? Why are they made of sponge in the first place? Can you think of a justification for using them in your magic act?

"Have you noticed that you don't see many clowns these days? They used to be everywhere! It's a little known fact that for years clowns have been hunted by magicians. It's a cruel blood sport, but so much fun. Look.. We take their noses as trophies.."

3 things you should ask yourself about your magicians props

Take a look at each magic trick you perform and ask yourself:

  • Why do you perform it?
  • Why should the audience care about it?
  • How could you build a story around the objects to give them more significance and meaning? 

 

 

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Hidden Hand Problems, Questions, and Answers

by Dominic Reyes 1 Comment

Hidden Hand Questions - problems - reviews

Problems, Questions and Answers about Hidden Hand by Sean Fields

As Merchant of Magic lead the launch of Hidden Hand in the UK, we recieved a LOT of questions from magicians about the device. To help, we have collected some of the most common questions and answers. If you don't know what Hidden Hand is yet, It's worth watching this video to see it in action:

What are the angles like for Hidden Hand?

The angles are pretty good with Hidden Hand. It's suitable for complete beginners to use. The angles are fine for commercial, professional real world use. Sean Fields performes the ring to anywhere in a room surrounded by magicians, and not one will see a thing. However, the angles are dependant on how you are using the device, what effect you are performing, and your own comfort/familiarity with the gimmick. Sean does go over a few ideas that can dramatically improve your experience right out of the box however.

Are there clothing requirements for Hidden Hand?

Clothing requirements are up to you, but some do work better than others. It's a simple matter to explore which clothing you prefer to use when you perfrom magic and adapt as required.

Is Hidden hand practical?

Totally. It's very easy to set up and perform. We think it's a worker that can be done at a moments notice.

Is there sound issues with Hidden Hand?

No. The device will not give you any sound issues, and is suitable for almost all sound conditions.

Is it easy to recover the vanished object with Hidden Hand?

The recovery is natural and easy to perform. It's completely covered and is almost automatic.

Can you vanish an object and then load it into a different gimmick to produce later?

Yes, that's exactly one of the uses for Hidden Hand.

Can you use the device whilst wearing a jacket?

Yep. Performing hidden hand in a suit is no problem at all.

Is Hidden Hand durable?

No particular care or finesse is required; the gimmick is highly durable. It could go through a washer and dryer by accident and probably still work fine.The gimmick is incredibly simple and durable, so breakage shouldn't be an issue. If it does break, The video goes over repairing and resizing the gimmick.

How is Hidden Hand set up?

The 'gimmick' is installed into your clothing, but it takes 2 seconds to set it up in your outfit, or move it to another.

Can it be performed left handed?

Yes. Sean Fields is left handed. It works exactly the same left or right.

 

A Message from Sean Fields about Hidden Hand

With The Hidden Hand now available in the UK, I wanted to sort of derail the hype train, and try to temper expectations, and be as clear and honest as I can be regarding what The Hidden Hand can and cannot do.

This is a gimmick, but only in the strictest sense of the word. It is so simple; this isn't so much about the gimmick, rather what the gimmick allows you to do.

The gimmick is 'mechanical', but again, only in the basest sense of the word. There are only 4 pieces to The Hidden Hand, it is mechanical in much the same way a wheel or lever is mechanical. I don't want anyone to expect some sort of Black Widow, whiz bang doo dad. This is extremely simple.

The item does have to be on the smaller side. Pretty much anything that is palmable could be manipulated with The Hidden Hand.

The object isn't really gone. It is still 'in play' and easily attainable, it is just cleverly hidden, much like palming.

There are angle considerations, but they are quite forgiving, and easily covered if need be.

It can be set up on your person and worn easily all day. You will certainly forget you are wearing it at least once. It can be moved from one outfit to the next in seconds.

You can do it in virtually any outfit, but it was designed for how I work, which is with the sleeves rolled back.

You can use it in conjunction with other effects, such as 3 Fly, etc, but that will require routining on your part for certain motivations that may be required to obtain The Hidden Hand.

Which brings me to creativity. The Hidden Hand is a tool, and it is up to the user to maximize and make the most of the tool. As soon as Eric Jones put one on, he started creating some incredible magic within minutes, and that's really what I want to see you guys do. Get ideas from the DVD, but start improvising, and developing your own uses and routines for The Hidden Hand, I can't wait to see what you guys come up with.

Lastly, although the device is dead simple to use, it will still take practice to master, and understanding of how and when to use it, to make the most of what it can do.


You can find out more about Hidden Hand here

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How Many Magic Tricks? – Patrick’s Problem

by Dominic Reyes Leave a Comment

How Many Magic Tricks Patrick

By Dominic Reyes

Patrick writes: How many magic tricks should I learn? For some time now I have been learning a lot of new magic tricks mainly because I like the trick. Just lately, I feel like I have been learning too much.

I know how to do a lot of different tricks but in reality I don't know how to perform them really well. How many do you perform really well, whether at a gig or just socially to family and friends and how many is the right amount you should perform?

I have a list of tricks I would like to do set out in "sets" because one day I would like to do magic for a living.

These are the sets:

Group 1:
– Bag 4 Life
– Copper Silver Transpo (Pat Page Coin Magic).
– Forced Card Mind Read/Business Sandwich (JD4)
Group 2:
– Two In The Hand (Spongeballs/Coins)
– Card Change
– Card to Mouth
Group 3:
– Off The Cuff
– Coin Through Handkerchief
– Rabbits, Rabbits Everywhere (Goshman)
Group 4:
– Linking Bands
– Ace Shake
– Vital Statistics

I also have a list of impromptu tricks I like and would like to show people seperate from the sets:

  • Magnetic Coins (Bamboozlers 1)
  • Gemini Twins
  • Smiling queen
  • Linking paper clips and band.
  • Ring thing
  • Napkin Rose.
  • Chicken impression
  • Static-charge match. (Scamschool:Smoke)
  • 242 Poker Deal (Talk about tricks dvd)

Then there is a list of bar bets/betchas I like:

  • Rubber band release. (M. Wilson)
  • The next card I turn over
  • Bent match toss
  • Impossible knot do as I do (rope).
  • Fingers, nose do as I do
  • Arm twist do as I do
  • Cork penetration
  • Tricky 5's. (Bar Bets DVD)
  • Heist 3. (Scamschool:Fire)

Is this too many to know?

I am really struggling with this as I don't like to leave any of these tricks out. I don't know if that's normal but since I have put effort into learning the trick it's hard for me to stop wanting to keep any of these tricks.

What are your thoughts on this?

 

 

Hi Patrick, it's good that you have put in this work to plan out both your learning and performing material. You raise a lot of issues:

 

  •     How many tricks should I learn?
  •     How many tricks should I perform?
  •     Knowing a lot of magic tricks, but not performing them well
  •     Leaving magic tricks out
  •     Maintaining working material
  •     Putting effort into learning tricks
  •     How many magic tricks should a magician perform?

Let's work through some of these:

Magic research

So many magicians don't do this. Taking the time to look beyond the desire to learn more and more magic tricks is a vital stage to developing a professional approach to your magic. There's nothing wrong with continuing to learn as much as you can about magic. The more you find out, the more little bits and bobs can piece together to give you new ideas and presentations for your magic. Learning new magic is RESEARCH.

Research is not magic practice

A pitfall that many magicians can fall into is thinking that research is practice. Studying new magic tricks and keeping up-to-date with the latest developments in the field is important but it should only take up a proportion of your time. The key is to split your 'magic time' into three parts

Stage 1) Research

Study and read magic books, watch magicians perform, talk on magic forums, and attend conventions. Share ideas and learn new magic secrets. There is no need ever to stop doing this; it's all part of the fun of magic, and will keep you fresh and at the cutting edge of what's possible. However, don't stop there! Use the research section of your time to find out the types of magic and the specific tricks you want to take with you to the next stage. It's at this point that you are spot on to make a list like the one above.

Watch out for this: Spending all your free time searching for new tricks, chatting about magic, and watching magicians perform. The aim of research is to find the small selection of magic that you will master.

Stage 2) Practice

Through research, you build a feel for the magic tricks that would suit you, fit your style, and work well together. Slowly building up a list of magic that you will master and perform. As you acquire tricks that you know suit you, you begin to work on them through consistent, structured practice. There is only so much time in each day, so the research you have done should have narrowed down the tricks that make it to this stage.

Watch out for this: Resist the temptation to spend time practicing every magic trick or move you discover, jumping from trick to trick without mastering any. Without a plan or set goals you will just spend years learning bits and bobs without building up a set of core tricks that are performance ready.

Stage 3) Performance

The whole point of magic is for it to be seen by an audience. Your research time and structured practice should result in you having a range of magic tricks that are performance ready. A few at first, but slowly growing as you continue to research, select, and practice tricks to build your working sets. Performance is the end goal, but it is also a form of research and practice. Through performance we learn new aspects of presentation and technique, we reinforce our practice and maintain our skills.

Watch out for this: Without structured research your performance will be limited because you need to discover the perfect tricks to build an entertaining act. Without practice, your performance will be terrible as you will not have the skills to entertain your audience. Performance is the last stage in the process because it is the product of the earlier stages. Resist the urge to perform a magic trick before you have taken it through the first two stages fully.

Why stages stop magic problems

Here at the magic shop, we get questions from magicians every day. Almost every one of these magic problems seem to stem from the magician either getting stuck or fixated in one of the stages for too long or as a result of the magician skipping a stage.

  •     The magician skips the magic practice stage and rushes into performing too quickly
  •     The magician skips the research stage and just buys and performs the latest greatest releases with no constant theme or direction.
  •     The magician skips the research stage and reinvents a poor version of an established method.
  •     The magician skips the practice stage and fails to master the mechanics of a technique
  •     etc etc

Patrick's problem

Patrick, you have built a plan of the material you want to perform, which is the goal of the research stage. Now you can now focus your practice time on the material in that list. That will help you move forward. It's fine to continue the research as well, but only as a small proportion of your time. The bulk of your time should now be spent drilling, practicing and rehearsing the material on your list.

It's fine to learn more tricks, just don't spend 'practice time' on them unless you decide that your core list needs to be changed by adding the new trick or using it to replace a trick from the list that is not working for you.


Moving forward

Your list is the core of your work as you move forward from this point. This is my suggested plan for moving forward from this point, and the way I apply structure to how I develop my working material:

1) You practice the material keeping it developing and your skills sharp.

2)You perform the material that keeps it fresh and also helps you research how it can be improved or tweaked.

3) You continue to learn new magic tricks as research only to see how they could change or adapt your list.


How many magic tricks should be on the list?

It depends. Your list looks fine, and the quantity seems great. You have several sets to rotate, with a range of additional tricks that you can add when needed. The size of your list depends on how much practice or performance time you can give it. Magic tricks are like plants. Plants need to be watered, or they wither and die. If you don't often perform, your list will need to be smaller because you won't be able to keep it 'watered' with performance. A small list of tricks often performed, is far better than a large list of tricks that are half forgotten.

Size doesn't matter; it's how often you get to use it that counts.

 

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Filed Under: Buying Magic Tricks, how to do magic tricks, practice, Questions and Answers Tagged With: How to Learn Magic Tricks, practice

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