How to do Magic Tricks

Advice and Support for Magicians

Is Magic Art?

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Is Magic Art

Is magic art? Should magic be considered an art form?

Greg's a young magician who has to write an essay for school on why magic should be considered an art form. He's being proactive and wants to get the opinion of other magicians as field research.

Do you agree that it is an art form? What arguments would you make?

Please share your thoughts at the bottom of this page.

 

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Phil Hyslop: 

What is magic? "Magic is the theatrical art of creating the illusion of impossibility in an entertaining way." Charles Reynolds

Sean Mccarthy:

I think magic isn't an art form, although it has the potential to be. In the same way that an easel and a paint brush aren't a painting. It requires an artist. Somebody with a passion for what they do and with a message to give. Magic can be an art, but only when the tricks come second to the people.

Ian Leic:

I got a copy of Ken Weber's book "Maximum Entertainment" the other day and in it he says that magic is an art as it falls under the umbrella of 'performing arts'. Like others here, I personally believe that magic has the potential to be an art but shouldn't be classed as that automatically. A block of clay needs a sculptor to create art rather than a mess. A keyboard needs a composer to create art rather than just a noise. Magic can be an art but whether it is or not is entirely reliant on the person performing it.

Jørund Werner:

Yes. I believe magic can be an art form. I went to an art school years ago, I'm not only magician, I also make comics, draw pictures and write short stories. In my experience the hard work I do when I make art has a lot in common with the work I do when I work on my magic, Yes it's an artform, if you put your soul and hard work in it. If It's original and interesting to watch, if your magic is something that does not loook like magic you have seen before, then I think you can call it art.

Chris Curley:

Magic is art. The cards are my canvas, my hands are the paint and my mind creates the master piece. Too say magic is not an art is not a wrong answer just a view on the subject. Magic that does not seem to be art was not performed properly.

Jonathan Nicholson:

Brilliant question. I would say that magic is an art but in the way that paint, brushes and canvas is not art until the creative element (artist) is introduced. Perhaps more akin to dance…


TRICKS are not artistic, but a magician has the ability to create art with them. Some card flourishers now call their card flourishes "juggling" but watching some of the videos (again part of the creative process) I would class that as art. 

My partner says magic is not art. In her defence – she has seen me perform.

Tomás Ó Laoch:

Art is supposed to make you feel something you make people feel wonder and whimsy so yes i believe its an art form people look at a painting and wonder the emotion behind it so that's my argument behind my statement.

Sam Mcgurgan:

 Well all art forms need to be perfected, magic also has to be perfected, therefore magic is an art.

Dominic Reyes:

Great posts on this topic! I would agree.. Magic is much like any other form of performance. The props and techniques are materials for the magician to create something. Perhaps the 'art' comes in the presentation and delivery of the magic?

 

Running out of Magic Tricks

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Running out of Magic Tricks

By Dominic Reyes

Running out of magic tricks? What should you do if you burn through your material at a gig?

Okay, this is something that happens to every magician. It doesn't matter how carefully you build your magic act, construct your sets, or time the length of your magic tricks, sometimes you find you are running out of magic tricks and need to come up with something new FAST.

This can happen several reasons:

  • The event only has a few guests.
  • You're feeling very energetic and moved through your material too fast.
  • It's a repeat booking, and the guests have seen you perform before.
  • The layout of the tables means that all the guests are sat together.
  • The room is very small; so you are performing to the whole group.
  • You have been booked for an extended period of time.

When this happens, you need an action plan. Spending a few moments thinking about what you going to do in that situation will save you a lot of headache on the night.

Multi purpose magic tricks

There are many magic props that can be used for several different tricks. Here's 5 magic tricks that have a huge range of uses when you are running out of magic tricks:

Loops

Thumbtips

Coin Unique

Svengali Deck

M5 System

DO THIS:  Go over the props you already use and see if there are alternative tricks you can practice as backup.

If you use these items in your core act, take a moment to research alternative presentations you can do with those props. They may not be your staple material, but if you are running out of magic tricks to perform, you can go back to the items later and recycle them.

False Shuffles and Cuts

A deck of playing cards is a wonderful thing. There are more magic tricks you can do with your playing cards than you could learn in several lifetimes. Go back to the beginning and strip everything down to it's basics. A simple card location trick, a card force, or a colour change can be perfect for those moments when you are running out of magic tricks to perform. Learn how to do false cuts and shuffles. These simple techniques will allow you to demonstrate that you can locate any card in a deck. Quick to learn, and great material you can use as impromptu magic when you need more material.

Teaching people magic tricks

Every magician has been asked if they can teach a simple magic trick. Most magicians prefer not to do this, but it can work well if you choose something that is entertaining whilst not exposing the secrets of magic. Magicians never reveal their secrets and I don't suggest you should teach them professional magic tricks. There are lots of public domain simple puzzles that are fine to teach. Simple proposition tricks and bets work well. Choose tricks that naturally teach the method to the spectator as part of the presentation. A trick with matchsticks, where the matches are placed in a square and need to be moved to a new position with just a few moves is a typical example. It's more of a puzzle than a magic trick, but your presentation can make it appear to be something special. Never expose REAL magic secrets. Present a puzzle as a magic trick and you should be fine. The spectators don't need to know that you arn't really teaching them a magic secret, they just want something cool to show their friends and family.

Bar Bets

Many simple bar bets can be dressed up as magicial effects. You probably already know 5 or 6 bar bets you have picked up over the years. Take a moment to create a list of them and work out a way to give them a touch of magic.

DO THIS:               Make a cheat sheet of 5 bar bets and keep it in your close up case or wallet.

If you get a mental block when you find you are running out of magic tricks to perform, you can take a quick look at the cheat sheet and all will be well with the world.

Give a short talk about magic

How many times have you been asked this question, 'How did you become a magician?' It's on the tip of every spectators tongue. Create a short, entertaining story about the history of magic in your country, and how you discovered your magical powers. Talk about good magic on TV for spectators what would like to see more. Pepper the story with a couple of short magic effects. You can present this to the whole group if you are performing to a small crowd, or you can revisit responsive groups that would be interested. Clients love after dinner speakers, so offering to present a short talk on magic, goes down very well at the right type of event. It can kill quite a few minutes and really sets you apart from ofther close up magicians.

Build in more magic

Even a simple bar bet or puzzle can become magic. The perception of the trick is in the presentation that you fame the trick within. It's likely that one or two of your core effects have techniques within them that could be performed in isolation as their own trick. If you perform The Ambitious Card, could you take a single phase and present it as a stand alone effect with alternative props? Maybe your business cards could be used instead of playing cards? Perhaps the playing card levitation you showed everyone, could be repeated with an object from the spectators table?

Magicians Props Vs Magic Gimmicks

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Magic Props and Gimmicks

By Malcolm Duff

What's the difference between magic props and magic gimmicks?

“Props” – as you almost certainly know – is the name given to anything that you use during your performanceof a magic trick that aids you in producing an effect.

A lot of magicians confuse the word “props” with the word “gimmicks”, thinking that they are interchangeable, that they both mean the same thing. They do not. Whilst it is true that all gimmicks are props, it is not true that all props are gimmicks.

For example, if you do card magic tricks then one prop that you will need is a deck of playing cards. “Duh..”.
Now, you can use a deck that is “gimmicked” in some way so that you can perform one or many effects that cannot be performed with an ordinary, genuine deck and so that deck of playing cards is a gimmick as well as a prop. However, there are many astounding magic tricks that can be performed with an un-gimmicked deck and so that deck is a “only” a prop.

Here is a breakdown of what I consider you need to know about props;

Handling

You should be able to manipulate your props (if they are capable of being manipulated) with ease.
There is nothing sadder than watching a card trick being performed by someone who is obviously uncomfortable with a deck of playing cards. Someone who cannot shuffle easily, or drops cards, or handles them awkwardly or too slowly. We've all seen them – and we do not want to repeat their behaviour.
So – if you do perform card magic tricks  – you need to know that deckof playing cards inside out. You need to handle it as if it were part of you. Be sure that your spectators will notice this – even if they are unaware that they have noticed. They will be more comfortable with you if you are comfortable with your cards.

How do you get to that point? Well, yes, it is our old friend magic practise again. Always carry a deck of playing cards with you – and I mean always. You can hold it in your hand(s), shuffle the cards, cut the cards and so on, as you are doing something else – walking down the street, waiting for a bus or whatever. It is well-known that the best American Football Quarterbacks always carry a football with them – some even take one to bed! You need to be the same with a deck of playing cards. An added benefit of always carrying a deck is that you will come across situations where there is an opportunity for an impromptu performance. More practise right there. By the way, you will know when you have reached this point with cards; You will feel that something is missing if you do not have a deck on you and – even better – none of your friends will play cards with you for money!

All of the above applies to many props that magicians use – like coins, sponge balls, matches, silks and lots of others.

Knowledge

This only applies to a subset of gimmicks. It is almost too obvious to mention but it is important. Here is the scenario; You acquire a new (to you) magic trick from some supplier, get it home, open it up, follow the instructions, practise it over and over until you can adequately perform the magic trick and then slip it into your act. Now, you may be amazed to discover that there are some performers who do this without actually knowing how the gimmick does what it does. They make the gimmick work by following – blindly – the instructions. However, knowledge of how the gimmick works will mean that you know which parts of the magic trick are more important than others – which parts can you drop? How can you improve the effect? Etc. So find out – or figure out – how it works.

Planning

Before venturing out to a gig – whether an amateur or professional magician – you should make sure that you have all your props with you. Double check. Test them. Take spares for those props/gimmicks that can run out – like sharpies or post-it notes or whatever – also take spare batteries for those gimmicks that use them. If you are a successful magician – or otherwise wealthy – you might consider new batteries for every performance. If the prop/gimmick/effect relies on a separate duplicate of something – is that duplicate looking scuffed or dirty? Do you need a new one? If it relies on multiple items make sure that everything is present. One idea is to have a routine for when you “pack up” after a gig. Put those things that rely on each other in a separate bag or box. Maybe the original packaging?

I can illustrate this one by a quote;

 

“The only thing random about a magic effect is the punter”.


I do not know who first said this but I do know the impression that it made upon me. The performer has planned everything that they can. Leaving, surprisingly, nothing to chance.

If you do not learn “Planning”, I guarantee that you will just after it bites you – and it will.

However, planning is not everything – here is the next…

Appropriateness

My favourite, mainly because I have fallen foul of ignoring this on more than one occasion – I know, I am a slow learner.

I currently perform most often to the same audience. I know them all by first name – they know me. This has advantages and disadvantages. The advantages include things like; you know the personalities of each punter, you know with whom you can or cannot “get away” with something, you know which type of effect will go down well and which will not, which punter will follow your instructions and which will try and ruin your effect – Oh, yes, they will. I find that surprising, since I am more than capable of ruining an effect without any help from a spectator.

Anyway, back to appropriateness. There are many effects that I cannot perform for that audience. Not because I cannot do them but because they know me too well.

For example, if I use a production wallet then I fail. They have never seen me with a wallet. Why do I have a nice posh black leather one now? Am I wearing a jacket with secret pockets? They have never seen me wear a jacket. Am I wearing “back tie” dress when the audience are all dressed casually?

Basically, this can be expressed as “Am I doing anything, wearing anything, using anything that is not appropriate for the audience or venue?”
If you do have a “regular” audience you can, of course, train them over a period of time as to what to expect about your presence.

Supply

Two things here; You have to obtain your props. You will – most often – be getting them from source(s) that are getting them from a manufacturer/distributor. This is more than fine. Find a magic dealer that has satisfied you. Stop using sources that have not. If you try a source – that you have not used – try them with some of their less expensive items to test their whole process. How was your experience?

The second thing about supply is that, as you get better at performing, you will be able to notice the difference between the products of different manufacturers of the same prop. You will find that you can handle one better than another. It could be weight, size, flexibility and so on. Cards are a very good example. Which “brand” do you like best? Why? How do different brands differ? How many have you tried? If you are really presumptuous – How can a deck of playing cards be improved?

Creation of props

I mention this one because it exists.

You perform magic tricks. There are only two types; Those that you have learned – by whatever means – and those that you have created. “Magic” tricks are a lot like chess. I do not mean that the skills needed are in any way equivalent or comparable, just that – in chess – you can regurgitate or create. More usually, just as in chess, you will do both.

So, if you do create a “new” magic trick, or an improvement to an existing effect, that needs one or more props then you could sell that effect and those props! It it's an adaption to an existing magic trick, you should gain permission from the origianl creator and credit them in full for their work. Yes! You can do that. That is exactly how you got the last one that you learned/bought. Someone else created it. It could be you that pushes it forward!