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Performance programs. Tips for a magician

Spectacular tricks and their clues

Directory / Spectacular tricks and their clues

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In the same devices, you can show completely different tricks. This means that it is important for a magician not only to have apparatus and possess sufficient skill, but also to be able to come up with interesting and varied scenarios for his performances. Only then will he be able to fully reveal his talent, acquire his own "handwriting" - a manner of performance that is not similar to the manner of other artists of this genre.

All this comes with experience and through thoughtful and hard work. Only through such fetters can one learn to make full use of all the possibilities inherent in each of our devices, and thereby greatly enrich one's programs. At the same time, your performances will become spectacularly much more interesting and artistic, and tricks will achieve the greatest effect.

Most tricks seem to consist of several separate parts, that is, several small, independent tricks, combined into one small performance, lasting 2-5 minutes.

Here's just one little trick. The artist took a cube out of his pocket, showed it to the audience, and then squeezed it between his palms - and the cube "disappeared". This is the first complete trick. Following this, the cube "appeared" in a box that the public had seen empty before - this is the second trick; then the cube "mysteriously" "flies" from the box back into the magician's hands - again an independent trick. Combining these numbers into one performance, the artist took 3-4 minutes in the overall program.

But there are performances that occupy an entire concert department and even the whole evening. For such performances, a special program should be drawn up, well thought out and rehearsed by the artist. Such a program consists of several groups of focuses, united by some principle. For example, a part of the program is occupied by tricks with coins, another - tricks with handkerchiefs, then - with cards, etc. The division of focuses into groups can be based on other principles. For example, one can divide all tricks according to the type of apparatus used in them or according to the effects obtained, etc.

Only one condition remains unchanged in all cases: tricks must be performed with increasing final effect. The most spectacular number should be shown last: for example, at the end of the program, a bouquet of fresh flowers "mysteriously" appears in the hands of the magician, and he throws flowers at the audience.

In between series of tricks, for a little "rest", the artist goes backstage for a while and at this time frees his numerous pockets from objects that have become unnecessary to him, and "charges" them with new ones. At this moment, an assistant enters the stage, who takes away the extra props and takes out a new one for the next series of tricks.

The discharge of tension in the auditorium, which we talked about earlier, should also be provided for by you when drawing up the program. Such a program lies on the table in front of the assistant, who is backstage, and the presenter, leaving the stage backstage, can always look into it.

Author: Bedarev G.K.

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