how to perform magic Archives

The Tempo Rhythm of Your Magic Tricks May be Working Against You

Is your tempo rhythm working against you when you perform your magic tricks?

When we perform, we all tend to have a constant rhythm or tempo that we stick to most of the time. Some of us are full of energy and run at a fast pace. Many magicians present their magic at a more thoughtful, steady speed. The tempo and rhythm of your magic depends greatly on your performing character and persona, but being aware of it, and in a position to control it, can greatly help your performance.

Back in 1918, Stanislavski realised the usefulness of physically and emotionally adding richness to your act by the creation and control of tempo-rhythm. Stanislavski saw the tempo-rhythms of anything physical or vocal to be similar to that of music. Music has a range of movements like legato, staccato, andante or allegro structured in a progressing line. In just the same way, how you present your magic tricks, and the patter of your act, should have it’s own tempo-rhythm. This will make your presentation much more natural, motivate a more emotional performance, and have a dramatic impression on your spectators.

It’s about how you feel.

Often, the tempo of a performance is linked to how the magician feels. This is one of the reasons why The Merchant of Magic doesn’t recommend doing Jazz magic (working without a script or planned act) unless you are a very experienced magician. Sometimes at a gig, we are full of energy, other times we may be bored, tired or distracted. Most of the time, we are not aware of our emotional states, and don’t see that we may be performing in the wrong tempo. Being aware of our tempo-rhythm means that we can switch pace, pushing forward more energy and in doing so, feel more positive. Controlling the tempo and energy of a performance communicates to the audience, which in turn feeds back to us and reinforces our behavior.

Choosing a Tempo Rhythm.

Sometimes a particular rhythm is a deliberate choice. Dynamo Magician Impossible and David Blaine present their magic tricks in a slow steady paced tempo-rhythm. David Williamson or Gregory Wilson are the opposite, doing magic tricks in a manic state, full of energy. Choosing your performing persona isn’t just about the clothes and magic tricks you will perform. You need to choose a level of energy and pace for your magic.

You don’t need to stick to a single tempo-rhythm. Derren Brown changes tempo quite often in his stage show. Changing from a slow thoughtful or emotional presentation, to a fast paced trick that moves around the stage and has plenty of comedy.

DO THIS: If you arrive at a gig feeling tired or have had a bad day. Be aware that this may reflect in your performance without you being aware. The speed and lack of energy in your show could be signalling this negativity to your audience. Change the pace. Be an actor. Create more energy and positivity. As a result, you will find this changes your mood and the act becomes the reality.

Examine your own act and performing persona. Does it have a single tempo-rhythm? Is it right for you? How could you change a magic tricks tempo-rhythm to compliment your character?

Why Magicians Need to Learn More Than How to do Magic Tricks

by Merchant of Magic 4 Comments

How to learn magic tricks - The most important part

Learning how to do magic tricks is only part of the process for developing your skills as a magician. Magic is about interacting with people and entertaining them. Is it wise to spend the majority of your study time learning technique? Is there something else just as important for magicians to develop?

Dominic Reyes recorded this short video explaining why he thinks many magician focus too hard on how to do magic tricks, and forget the real secrets of performing magic to the public:

'Sometimes a magician comes to The Merchant of Magic for private tuition, and during the assessment stage, it's clear they don't need any work on their mechanical technique. It's already at a working stage

For magicians like this, we need to switch focus away from sleight of hand, and teaching them how to do magic tricks. We have to help them develop techniques to improve their presentation and how they interact with the audience during their magic tricks. This can be a difficult subject to work on. We are working with aspects of themselves that they view as their own character or nature. Reviewing how they approach people, conduct themselves, interact and engage others.

Despite the work involved, that can take many sessions to bring about a lasting change in their performance, this is one of the most worthwhile parts of magic tuition, and brings the most dramatic benefits to the magicians we help.' – Dominic Reyes

DO THIS: Personal magic tuition is not right for everyone. It's easy to start learning presentation skills by yourself:

1) Act
We recommend that every serious student of magic starts taking some form of acting lessons. These could be from a local collage, acting group or community theater.

2) Read
Start reading books on acting and make notes of tips and suggestions that would relate to live performance in front of an audience. Read Acting for magicians. Look for books by Stanislavsky, Uta Hagen, Sanford Meisner, Stella Adler, Michael Chekhov, Viola Spolin, Simon Callow and Cicely Berry.

3) Move
Think about taking voice, singing, dancing, movement, classes. Your local community centre will be able to suggest local classes.

4) Watch
Do you live near somewhere that has really good actors performing live. Go to the theater and make a note of the stage craft in action.

Re-watch all the magic DVD's or downloads you have. This time ignore parts of the DVD's that show you how to do magic tricks. Focus on the presentation sections and look for live performance. Make notes of the interactions you see.

Magic Tricks as a Puzzle or a Story? – How People View Magicians

by Merchant of Magic 3 Comments

There are two types of spectators that magicians encounter: those that see magic tricks as a puzzle, and those that see magic as a story.

Magic Tricks as puzzles

Spectators that see your magic tricks as a puzzle or challenge spend their time desperately trying to catch you out. They burn your every move with their eyes. They can’t wait to be able to point a finger at you and shout ‘Aha! I caught you!’

These are the spectators that are most likely to ask to check a magicians playing cards and demand that the magicians ‘do that trick again’. Some enjoy the challenge, and some are driven crazy by it. It’s people like this that most often comment that they don’t like magic, when you first approach them. They can be worried that you will be making a fool of them, or that you will simply annoy them with a puzzle that they can’t solve.

Magic tricks as stories.

Spectators that see your magic tricks as a performance can be the most fun audience for magicians. They look forward to being entertained, find magic a mystery and are most likely to have an emotional reaction to one of your magic tricks. If your magic is good, you can almost see them regressing back to being a kid again. They know that it’s close-up theatre, but with each new magic trick you make them want to believe in the magic they see.

That’s not to say that the spectators are easy to fool. They have the same sharp eyes that the ‘puzzlers’ have. The difference is that they are on the magicians side. Their job is to find you out and at the same time fail. The final monologue from the movie “The prestige” describes it exceptionally well:

“Now you’re looking for the secret. But you won’t find it because of course, you’re not really looking. You don’t really want to work it out. You want to be fooled.”

Which type of spectator is better?

That really depends on the style of magic you present and your magicians performing persona. You may have a challenge or bunco booth, characterisation, and perform magic tricks that have a betting theme. You could perform magic with a ‘catch me if you can’ attitude. Maybe you perform like Slydini did, and tell your audience ‘I’m a gonna fool yah!’.

Instead of pitting yourself against the spectators, the alternative is to weave magic stories, create an atmosphere of wonder and fantasy. Your goal would be to present magic that doesn’t tease the audience into working out the method. They are entertained by the ‘show’ of the magic trick. A good movie causes the audience to suspend their disbelief. They stop judging the special effects and the sets, they are pulled into the ‘effect’ rather than the method’.

However you decide to present your magic tricks, bear in mind that you communicate how you expect your audience to react to your magic, through your presentation. If everyone seems to be reacting to your magic tricks as puzzles, chances are, you are doing something to signal to them, that is the correct behaviour. You may not be aware that you are doing it.

Notice how you feel most comfortable presenting your magic tricks. Being aware of the two approaches allows you to examine the patter you use, and the style of magic tricks you build into each working set or routine.

Puzzle magic tricks Vs. story magic?

Both approaches can be better or worse than the other. However, the most crucial factor is that you as the magician are aware of the distinction, and have consciously chosen which approach to take. A definite decision between the two will mean that your approach will be consistent across your whole act.

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