|
Arabic
Bengali
Chinese
English
French
German
Hebrew
Hindi
Italian
Japanese
Korean
Malay
Polish
Portuguese
Spanish
Turkish
Ukrainian
Vietnamese|
EFFECTIVE FOCUSES AND THEIR CLUES General information for a beginner magician. Tips for a magician
Directory / Spectacular tricks and their clues A huge number of existing tricks are divided into two main types: manipulation and illusion. Manipulations are tricks shown without the use of any equipment, that is, on the basis of "sleight of hand" alone. This dexterity is achieved by the artist through long and hard daily training. All tricks in which various devices are involved are illusions. Generally speaking, today it is difficult to find an artist who would work only as a manipulator and would not use any "secret" equipment. It is just as difficult to imagine a modern magician working on devices who would not have knowledge of the basics of manipulation. Such a division of tricks according to the technique of their performance is important only for the performers themselves, while the audience is not even aware of it. That is why the public, with such great pleasure and unflagging interest, follows all the "magic" transformations, sudden disappearances and unexpected appearances of various things and objects in the hands of the "sorcerer" - it does not care what type these tricks belong to. Performances of magicians enjoy the same success and love of the audience. Everything that the artist demonstrates is unusual, interesting, original, elegant and done with ease. Few people realize how much work and perseverance is invested in an "easy" trick that takes only 2-3 minutes on stage. It is certainly difficult for an inexperienced viewer to imagine that every gesture, every movement, every word of the artist is thought out in advance, accurately calculated and carefully rehearsed. Often, this apparent outward ease of performance misleads novice amateur magicians, and they, having barely familiarized themselves with the trick, having learned its secret, immediately rush to show it to the audience. This is a gross mistake. Only after the focus has been fully worked out can it be made public. More on this will be discussed below. Have you, of course, paid attention to how freely, naturally, simply, without a hint of fussiness, a professional magician moves around the stage, how beautiful, plastic his gestures are?! And, of course, they noticed that he was laconic, but everything he said was witty and funny. This gives his performance a special brilliance, makes it even more spectacular. It is this artistry that amateur magicians very often lack. A novice artist should pay special attention to this. Be taut but natural on stage, don't slouch or frown. Remember - the audience should be pleased to look at you, they should like you - this is a significant part of the success of your performance as a whole. Another unpleasant mistake that novice amateurs make is an unjustified haste when showing tricks. At the same time, the artist's movements become unpleasantly fussy and constrained, and the whole performance leaves the impression of being uncertain and raw. The main trouble lies in the fact that with such a rush, the viewer does not have time to perceive the performance, fully comprehend it, and, accordingly, enjoy the trick. A trick shown in a hurry can be compared to a poem read in a tongue twister and without expression. I once saw the performance of an amateur magician: he was a young man with a very pleasant appearance, he performed in a beautiful black tailcoat, worked on industrial-made equipment. A slight excitement swept through the hall, he froze in anticipation of pleasant impressions. But, alas! Within 3 minutes, the artist literally "blazed out" to the public with a dozen tricks. People did not have time to consider the objects with which the illusionist worked. His movements were convulsive, while the beautiful apparatus made a terrible noise and did not work well. The beautiful young face of the artist is petrified, his eyes are frozen, rush to one point. The performance ended - the audience was politely silent ... There was no applause, in this case they were simply inappropriate. The above case is exceptional, but it is very useful for a novice magician to know about it. Remember: you are demonstrating your tricks to the public and performing for them. If you show the object you are going to work with, then do it in such a way that all the spectators sitting in the hall have time to examine it well. Sometimes it is even useful to go down to the hall and, walking between the rows, show this object from your hands and let the audience hold it (of course, if this does not threaten the secret of the trick itself). However, going to the hall should not be abused, although this helps a lot to establish contact with the public. Your short remarks, jokes and questions addressed to the public also contribute to establishing the much-needed contact with the audience for the artist. Your face during the entire performance should be mobile and friendly. Build and show your tricks so that the audience has time to see and understand everything well (of course, except for the secret of the trick). At certain moments of the show, magicians make small pauses, as if emphasizing, sharpening the viewer's interest at this moment - this helps the artist control the attention of those present and, if necessary, distract him. Between individual focuses, you need to take small breaks - pauses. This is necessary so that the viewer has the opportunity to fully perceive your performance: mentally restore the individual details of the seen focus that interested him, briefly exchange impressions with his neighbor. Only if this rule is observed, the effect of your performance will be complete and the audience will keep the memory of it. With a good show, when the audience expresses its delight with friendly applause, these pauses are formed by themselves. Some novice amateurs for some reason are embarrassed by applause. You should not be embarrassed, but applause should be answered with a slight tilt of the head and a friendly smile - as a token of gratitude and appreciation. During performances, it also happens that for one reason or another the trick may fail or the audience will guess it, then not very flattering words may reach you from the audience. And in these cases, one should neither be embarrassed, nor angry, nor offended. Just laugh with the audience at the incident and move on to the next trick. Naturally, do not show the failed trick to the audience again until you have completely reworked it and made it unrecognizable. Never get into an argument with the public. A certain competition takes place between the illusionist and the audience throughout the performance: the artist offers his "magic" riddles to the audience, and those present try to solve them right there. Thus, the viewer is an active participant in the performance, and not a passive contemplator. With hundreds of eyes he watches every movement, the slightest changes in the face and look of the artist. But how does a magician, standing openly on the stage, manage to deceive the vigilance of the whole auditorium alone and emerge victorious in this competition every time?! In short, you can answer this: with the help of an accurate calculation. Yes, accurate calculation is the basis of the art of magicians. In this case, it consists in the following: knowing with what tension the viewer follows everything that happens on the stage, the artist seizes the attention of those present and all the time consciously distracts him from all the secrets of his tricks, which is why they remain unsolved. There are many different ways to distract the attention of the audience, they are called - "distractions". Not a single magician can do without them - neither a manipulator, nor an illusionist. A distraction can be a word, a gesture, an object, and more. Everything depends on the circumstances. But it is best to consider this with specific examples. The magician passed the ball from his right hand to his left and holds his fist with the ball clamped in it raised up so that it is always in front of the audience. At the same time, the index finger of the artist's free right hand is directed to the ball hidden in the fist; he kind of invites the audience to follow the ball relentlessly. So the magician goes into the depths of the stage to the table standing there and, taking the “magic” wand from it in his right hand, returns to the forefront. At the same time, with his eyes, he constantly watches the ball hidden in his fist and points to it with a now “magic” wand. Then a light wave of the wand. The left fist is clenched. It is empty - the ball is gone! It is also not in the right hand, this is the artist showing the audience. This is what the focus looks like from the auditorium. Let's talk about the secrets of its execution. It did not use any special apparatus, and if it were not for distracting moments, there would simply be no focus. "Passing" the ball from the right hand to the left, the magician deceived the audience: he made a manipulation called false pass (it will be discussed below), while the ball remained in the right hand. Then the first distracting moment followed - by raising his left hand, the artist diverted the attention of the audience from his right hand, in which the ball remained. Pointing with the index finger of his right hand to his left fist, with this natural gesture he justified the bent fingers of his right hand holding the ball remaining in it. This pointing gesture was reinforced by the conjurer with his gaze, which was inseparably following the left fist - this is the second distracting moment. Here it is appropriate to say that the vigilant spectator is especially keenly following the direction of the magician's gaze. Artists know this well, and therefore, when they need to quietly take something in their hand or, conversely, quietly get rid of some object, they never accompany these movements with their eyes, but perform them "blindly", without looking. In our focus, the "magic" wand was not accidentally required by the artist, but so that at the moment when he took it from the table, leave the ball from his right hand there. So the wand was the third distraction. Having freed himself from the ball, the magician moved away from the table and only then showed that the ball "disappeared". This was also a distraction, otherwise the audience could easily guess that the ball was left on the table. As you can see, everything was calculated and foreseen in advance, and distractions in the performance of this trick played a major role. Here is another very curious example of how important distraction and accurate psychological calculation are in showing a trick. Finishing the number, the magician, facing the audience, very carefully and slowly folds the bright handkerchief into a small ball - a lump, then suddenly with a quick, sharp, but very clumsy movement hides it under the lower edge of his vest. There is murmuring, laughter in the hall - the audience does not forgive magicians for such awkwardness. The artist is confused, he is so confused that he does not even immediately notice the treacherous tip of the scarf sticking out from under the vest. Complete failure! But don't rush. Noticing the ill-fated tip of the handkerchief, the conjurer, smiling slyly, pulled it, and in his hands was a tiny piece of cloth of the same color as the "missing" handkerchief. There is animation in the hall, laughter, but the audience is no longer laughing at the artist, but at their own mistake. Well, where is the handkerchief, you ask, where did he "disappear"? And the magician really hid the handkerchief under his waistcoat and at the same time deftly put out from under it a piece of cloth, dyed in the color of the handkerchief and specially reinforced there so that it could be easily pulled out. This rag played the necessary distracting role, on which the whole focus rests. From the above examples, it is clear that the magician needs to be able to control the attention of the audience and that "distractions" play a major role in this. Unfortunately, not all novice amateur magicians are sufficiently proficient in this art; they make little use of the rich arsenal of distractions. From this, their performances certainly lose, and many of the tricks shown by them are easily guessed by the audience, which is completely undesirable, since in this case all the work spent on preparing the performance disappears, and the trick has to be redone. In addition, these examples clearly show that each focus has, as it were, two sides: one is visible to the audience, and the other is hidden from them. The artist needs to be very clear about both sides of his focus. Only under this condition can his performance achieve the greatest effect and expressiveness. In practice, very often the same tricks are performed by artists so differently that they are perceived by the audience as completely independent, not similar numbers. This is precisely what helps magicians to find their creative manner, their "handwriting", to show their own individuality. As in any art, here also one should not blindly imitate or copy anyone. Of great importance for the success of the performance is the presence of acting skills and the magician's ability to use them on stage. It is with their help that speeches are made the most convincing. It is very important for an illusionist to have good mimic abilities: after all, throughout the entire session, the artist's facial expression should change in accordance with the meaning of the ongoing action. This enriches performances, helps to better control the attention of the viewer, distract him, relieve unnecessary tension (watching the performance of tricks, the audience gets tired, and their interest in the performance is somewhat weakened, which, of course, is not beneficial to the artist). Usually the magician is well aware of this overstrain in the audience; a short joke thrown into the audience in time, accompanied by a kind smile, instantly enlivens the audience, restores the atmosphere of light cheerfulness, and the trick can be continued. This, of course, applies only to those cases where the performance lasts a relatively long time. Here is an example of such a joke. Standing with his left side towards the audience, the magician with the fingers of his right hand slowly pushes the handkerchief into his left fist until it is completely hidden there. The handkerchief is hidden, the conjurer looks at the fist with the handkerchief clutched in it and hears the chairs creaking in the hall, notices that the audience begins to look around more often with an absent-minded look. This is the first sign of the beginning fatigue of the audience. Then, continuing to look at the fist of his outstretched left hand, the artist slightly unclenches and squeezes the fingers hiding the handkerchief - this movement does not escape the public, it is easy to guess from the animation that swept through the hall. It seems to the audience that at last they have seen the secret, for which they have been hunting for so long and intensely. The artist calmly turns his face to the audience, smiles knowingly and, winking merrily, slightly pulls out the tip of the hidden handkerchief and looks at the audience inquiringly and bewilderedly, but they only smile in response - you can’t fool us! The magician again pushes the handkerchief into his left fist and completely repeats the joke just described. The reaction of the audience is the same, but now the audience is finally convinced that it is now that they will never be deceived, their interest is warmed up to the limit. The handkerchief is again hidden in the fist. A few "magical" passes - and he "disappeared"! Both of the magician's hands are empty. The audience laughs merrily, realizing that they played a trick on her very cleverly and that the trick remained unsolved. The necessary atmosphere was established in the hall, fatigue and overstrain were gone. You can continue to show tricks. It should be said that the given joke was not part of the performance of this trick. This improvisation was dictated solely by the need to revive the interest of the audience. At the same time, she showed that an experienced and resourceful artist was performing before us, who knew how to conduct his performances well and subjugate the audience. A novice amateur needs not only to be aware of this, but also to have such innocent jokes in stock in order to use them at the right time. When compiling programs of performances that are long in time, stress relief should be foreseen in advance. In general, it must be said that funny performances, flavored with jokes, go much better and the public loves them more. Therefore, magicians usually accompany their shows with witty texts. Such texts are thoughtfully composed, written and learned in advance. At the same time, it should be remembered that during the sessions the artist should not be too verbose, talkative, this will make him simply ridiculous. Everything that is said from the stage is pronounced clearly and in a voice of such power that everyone sitting in the hall can hear every word. The acoustics of the hall should be checked before the start of the performance. The texts introduced into the session should enliven the performance of the illusionist, make it spectacularly interesting, but in no case should slow down the pace. We have already spoken about excessive haste when showing tricks. However, there is a danger opposite to this - a decrease in tempo, a slowdown in the progress of the performance, which also adversely affects the spectacular effect, making the performance sluggish. Never warn viewers about what you want to show them; they must see it for themselves. By the way, many novice amateurs make a similar mistake. Sometimes the performances of professional magicians are accompanied by music. It is specially written or selected by specialists, depending on the meaning and pace of the presentation - otherwise it will not be organically connected with it. It will be very difficult for an amateur artist to organize musical accompaniment, but this is not so necessary, because not all professionals perform to music. The audience is very fond of watching tricks with objects taken directly from the audience. Do not take these items from your close friends sitting in the hall - you will immediately be suspected of colluding with them. Even in cases where collusion really takes place (and such tricks also happen), try to make sure that the public does not suspect your accomplice of a fake spectator. Author: Bedarev G.K.
Artificial leather for touch emulation
15.04.2024 Petgugu Global cat litter
15.04.2024 The attractiveness of caring men
14.04.2024
▪ Mining platinum on asteroids ▪ Biodegradable displays for green electronics ▪ Fat is the main cause of aging ▪ Cycle path with solar panels ▪ New membrane will reduce the cost of water filtration
▪ section of the site Riddles for adults and children. Article selection ▪ article Taratachka for the garden. Tips for the home master ▪ Murray River article. Nature miracle ▪ article Measure of emotions. Encyclopedia of radio electronics and electrical engineering ▪ article Prediction of a pile of cards. Focus Secret
Home page | Library | Articles | Website map | Site Reviews
www.diagram.com.ua |
We recommend interesting articles Section 
See other articles Section 
Latest news of science and technology, new electronics:
All languages of this page