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EFFECTIVE FOCUSES AND THEIR CLUES The birth of a focus. Tips for a magician
Directory / Spectacular tricks and their clues Let's try to trace one of the possible ways of creative genetics of focus. The man took the ball. Ordinary children's ball. And began to throw up in the palm of your hand. Just. Throws and catches, throws and catches. Either mechanically, or melancholy, or having fun. Not setting any artistic goal yet, not planning anything special. Plays. Play is one of the most natural human activities, always liberating and always desired. "This is a freely chosen action or activity that is chosen within the conventional boundaries of time and space," wrote the prominent culturologist Johan Huizinga, who in 1938 even proposed a special term homo ludens - a person playing. "The purpose of the game - continues Huizinga - lies in itself, it is accompanied by a sense of tension and joy and the consciousness of the "alternity of existence", different from "ordinary life". It's great to play without thinking. You can envy children, and at the same time learn from them - only they can do this, unfettered, unburdened by countless invented rules, direct. But for us, adults, something completely different is often important - be sure to first understand, comprehend, find out, clarify, and only then, under favorable circumstances and free time, start acting and playing. Against this, the play principle opposes - within the framework of the initial, often random situation, it implies the emancipation of fantasy, spirit and body, ease, freedom of creativity. But our hero is already tired of just throwing the ball up and cunningly catching it. The soul demanded complication, a departure from the mastered, and he himself felt that he was capable of more. Or maybe he wished for variety in the game. And he took, say, a wooden disc - one of those on which hot kitchen kettles cool, and began tossing the ball to them, with the disc, and not with his palm - once, twice, third. Like "vertical ping-pong". No, not very convenient, not quite natural, somehow not handy. Better balance. This is how to keep the ball motionless on this impromptu flat racket, not to let it roll, fall. "Any trick is born where a person parted with ordinary and familiar actions, overcomes them, goes to unusualness, to strangeness, if you like, to "domestic uselessness," says Tatyana Assovskaya, candidate of art history. The game principle is present in any illusion, in any focus Transformed by thought, refracted by fantasy, it is further melted into a new skill, sometimes into sportiness, and sometimes into art. Passion is the free self-realization of man. Those who are addicted are destined to discover something new. Here is our hero - from the simple balance of the ball in the immediate vicinity of himself, he moved on to a more intricate balance. In the distance, on top. He attached the disk to the top of the pole, and raised it, like a mushroom on a thin stalk, up. And on the raised disk-table rested in the same precarious balance the same children's ball. Further more. Having learned not to drop the ball when the pole was stationary, our already almost virtuoso began to turn the axis of the pole slowly and gently. Of course, the disc-table also began to turn ... That's when the first real difficulty arose! Yes, there is complexity - continuous failures. The ball kept bouncing and falling. Solid failures mean one thing - the experiment has reached a certain limit, beyond which the trick begins. Such a boundary always exists - it is outlined by the laws of nature and human capabilities. The way out, if there is one, most often lies in an elegant and beautiful bypass of the limiting reality. That's when it is no longer internal impulses that come into play, as at the beginning, not an unaccountable instinct - they played their role before, but the intellect launched to search for a paradoxical solution, a conjecture that arises in a special way. Take, for example, an ordinary school pointer from a geography lesson - in everyday life its function is simple and clear, but in the hands of a magician it can turn out to be a magic wand. Umbrella, flat umbrella! Make the pole thinner, the disk-table - wider. Here is a Chinese-style umbrella with straight spokes. On the rotating plane of the umbrella, the ball is held easily and without excessive effort, and everything looks very impressive, impressive, especially if the open "roof" of the umbrella is painted with exotic flowers and writhing dragons with wide clawed paws. What's next? Is further improvement possible? Or is it the end of the road? No, not the end. Modernization is possible, although many professionals are quite satisfied with what they have achieved. The point here is not fear and not mental laziness, but the so-called "calculation for optimality." Indeed, with a simple prop - an umbrella and a ball - there is already a beautiful and impressive spectacle. Why look for the best? Here on this "optimal variant" many also stop. And they live, it must be said, comfortably, not at all knowing about the aphorism of Oscar Wilde, the great English paradoxicalist - that "art can never have any other aspiration than its own perfection." Those who decide on a restless search soon come to the idea of reducing the diameter of the ball, of moving from ball to ball. Keeping a small ball bouncing on the running spokes of a spinning umbrella is a daunting task. For the performer. But for the public, not so much. Only an experienced, competent viewer, who knows the peculiarities of variety art, will be able to truly appreciate the rehearsal work expended. And then the trick, updated and enhanced by a reduction in the size of the ball, will turn into a series of those effects that professionals applaud more strongly, more willingly and for a longer time than ordinary spectators present at the concert. If, however, we take one more step towards complication - and this is quite possible, this is called "bringing to the point of absurdity" - to abandon straight knitting needles, remembering that the knitting needles of today's umbrellas are not straight at all, but are curved upwards so that raindrops flow faster, then this trick will be in the orbit of fantasy. In other words, it will become impossible. The balance of a small ball on a curved, and even rotating, fabric dome is impossible - the ball will fall immediately, you just need to unclench the fingers holding it. This is clear to every person, even those who are not very knowledgeable in pop affairs, and all the actor's talk about the fact that a certain juggler - a fanatic of equilibrium nevertheless carried out this trick, showed, in spite of everything, a long scrolling of the umbrella under the ball, having rehearsed it with a round-the-clock simulator - no, these rumors should not be taken seriously. Because performing such a trick with a vertical axis of rotation violates the most immutable thing in the world - the laws of nature. Here lies the line. The line separating the "honest" performance from the focus. Where the real trickster stops and says, "It's impossible!", the conjurer just gets to work. The zone of domination of the illusionists begins just on the other side of the border. The only trick is capable of revealing the impossible to the eyes of the audience. And nothing else. The trick that A. Hakobyan talks about. "... Putting the ball on the edge of the umbrella dome, the performer begins to rotate the umbrella around its axis. The umbrella dome makes its revolutions, and the ball obediently, like a satellite, runs along its edge and does not fall." How is it done, this amazing trick? - A certain Deus ex machina, a kind of "god from the machine," definitely takes part in the trick, - Tatyana Assovskaya remarks smiling. - Re-read the dialogue "Cratylus" in the writings of Plato. What is the philosopher Socrates talking about? “We,” says Socrates, “should have to start from the example of the authors of tragedies who resort to the help of a machine when they do not know what to do and force the gods to intervene. When the topic of conversation is wise antiquity, explanations are inevitable. The authors of ancient tragedies did not shy away from the intricacies of the plot. On the contrary, projecting plot tension, tightening the tight knot of stage action, they often confuse themselves, and at the same time the audience. The play turned out to be oversaturated with various intricacies so much that there was simply no place for a smooth logical outcome. And the ancient playwrights fell into their own trap, finding themselves in difficulty - how to get out of the utterly screwed plot puzzle? However, they knew what to do - they called for help "God from the machine." Stage hooks and ropes (machines) opened for public viewing carried an actor playing the role of one of the gods onto the stage, and with a wave of his hand, he destroyed all difficulties, resolving the situation from piled up contradictions. In any trick, the "god from the machine" is ... the smiling thought of the sorcerer, and the "machine" itself is some kind of hidden props. Let's say an ordinary fishing line. Or a thread. Hakobyan has black thread No. 10, the length of which is "slightly less than the spoke of the umbrella dome. One end of the thread is attached to the ball, the other to the spire of the dome ...". This is the solution that eliminates all the difficulties of the impracticable "honestly" juggling trick. Eliminating through a witty hoax. What if we go even further? If, for example, remove the umbrella? Focus or not? Judge for yourself. I offer my own version - already, by the way, tested. The magician makes a small loop at one end of the fishing line D (Fig. 1) and puts it on the tip of the index finger of his right hand. A weighted ball is attached to the other end of the same fishing line. The length of the fishing line is approximately 30 centimeters. In addition, a piece of another fishing line E passes through the ball, the ends of which are tied, so that the ball is strung on this line ring and can move freely along it. The magician puts this ring (together with the ball) on the forearm of his right hand, bare to the elbow, and everything is ready for the trick. Shaking his forearm, vertically raised up, he makes the ball run around his bare arm. Spectators do not see the fishing line, it is too thin to be noticeable against the background of a circularly swaying hand.
Fishing line ... Magicians are still ungrateful - they should have composed a hymn to this invisible partner of theirs. Or even more than that - an indispensable participant in many illusory miracles, the fishing line really deserves a monument. Which, alas, is not yet available. Perhaps for the reason that the life-size hero of this monument runs the risk of remaining invisible here too ... However, who knows, suddenly this invisibility will turn into a new trick? But let's not digress. So, we found out a lot, and not only about an umbrella with a ball. Let's try to summarize. The usual transfer of the cube from hand to hand is not a trick. But exactly the same flip with a simultaneous change in the color of the faces will become a focus. Dressing up on stage, in front of everyone, can bring a smile. But an instant change of costume, under the rain of festive confetti, is already an illusionary trick. Squeeze a soft white tube out of a tube of toothpaste that says "Good morning!" - still not a focus. If this inscription suddenly disappears, and in its place the question "Have you done your morning exercises?" - an unusual spectacle will immediately turn into a trick of a magician. Bringing a vase to the stage, pouring water into it and putting goldfish in it - is that really a trick? But to get a vase from under the empty handkerchief shown, and even to the top filled with water, in which goldfish glisten, is the most genuine trick. That is why there is a double complexity. For illusionists, it’s not enough just to practice technically smooth movements solved in an artistic way - this, of course, plastic-mechanical craft is a necessary basis for any, even the highest art, but a special kind of sacred action also participates in tricks - one that does not allow viewers to notice fix, catch the moment of the focus. These are the principles on which the same illusionary alchemy comes into play - non-mass, specialized, belonging exclusively to the genre of illusion. Author: Katashkin A.S.
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