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EFFECTIVE FOCUSES AND THEIR CLUES Nuances of magic. Tips for a magician
Directory / Spectacular tricks and their clues It is by no means difficult to understand what it, a charming sacred action, consists in, to realize its ritual role. Such ignorance can be overcome. But to carry it out competently, infallibly, is a great difficulty. Some - such as Hakobyan - perform it intuitively, effortlessly, with brilliance, from concert to concert, sometimes several times a day. And others fight all their lives and still remain tricksters, not miracle workers. What's the matter? Are we talking about unexplained talent? No, we're talking about a specific demo mechanic. "And no illusionary alchemy, no witchcraft specificity is taken into account?" - the novice sorcerer will ask. They will come later. Take, for example, the expression in the eyes of a magician. I remember how one beginner who dreamed of a career in illusion suffered severely because his eyes, as it seemed to him, did not meet the "standards of magic", that he did not have a "piercing" look. Now he is a mature professional, and he recalls his past sorrows with a smile. There is a section in the art of focus called manipulation. This is where, the beginner argues, one cannot do without super-sleight of hand. And if the fingers are by no means musical, not refined and not super flexible, what then - to put a bold cross on your hobby? But the musicality of the fingers is a relative thing. If only because music begins with the predisposition of the soul, and not with the anatomical features of the limbs. In addition, it is worth remembering that melodies are created not only by fine work of violins or filigree harps, but also by helicon basses. The drum, by the way, is also a musical instrument. Perhaps not as noble and highly born as the organ or the piano, but its rhythms capture and enchant. Same with focus. In the pantry of sorcery, not only tricks are stored, but also myths. Both confirmed and long refuted. And not all of them need to be trusted. A true teacher of spectacular magic will not talk about the ultraphenomenal features of the musculoskeletal system or the special "piercing" look, but will draw the beginner's attention to something completely different - to the transparency and simplicity of performing a trick, he will call for renunciation of abstruseness and emphasize the need for a minimum of funds. As in the trick that schoolgirl Katya Medvedeva, a member of the Moscow Club of Magicians, tells about. - You need to take two rubber rings and put one into the other (Fig. 2a), then put loop A on the thumb of your left hand, and then loop B. Then you should bring your right hand to the rubber bands, as if you were going to take the upper ring with a large and with the index fingers of the right hand, but - do not take, but only pretend that you are taking. With the right little finger, it is necessary to grab the lower elastic band, inserting it into loop B. Next, you need to make several small swings up and down with your right hand, the little finger of which holds the lower ring by loop B. The swing amplitude is from 5 to 10 centimeters. And suddenly - the rings change places. Everyone I showed this trick to was surprised and asked how I do it. And everything is very simple - during one of the swings of the right hand, at the moment when it goes up, I grabbed the upper elastic ring with the thumb and forefinger of the right hand for that part of it, which is indicated by the letter G in Figure 26, and at the same time released loop B with the little finger, after which she pulled up the upper elastic band for area G - of course, without disturbing the rhythm of the swings of the right hand. The rubber bands did the rest. That's all. Try to show this trick to yourself - standing in front of a mirror. And then, having enjoyed the effect produced, you can say out loud - certainly out loud: "Still, I have a certain sleight of hand."
So - a question. Where should you start? The answer to it is very simple - first of all, you should pick up the props. A coin, rubber rings, or whatever you prefer. And - try. We advise you to get acquainted with books that can help novice sorcerers. They contain a lot of very different tricks. Read the books by A. A. Akopyan "In the world of miracles", "All about tricks", "50 entertaining tricks", "Tricks on the stage", published by the publishing house "Iskusstvo" in 1980, 1971, 1964, 1961. Get acquainted with the tricks offered by A. A. Vadimov - the famous Alli-Vad - in his books "The Art of Focus", "The Illusionist's Repertoire", "Tricks for Everyone", "Tricks on the Club Stage", which were published by Profizdat in 1959 , 1967, 1952, and also look at the book by G. K. Bedarev "The Illusionist on the Rural Stage" ("Soviet Russia", 1973). And if someone ignorantly believes that these books are all about the sleeves of a magician, he will be disappointed. Although this myth does not leave the mouths of feuilletonists and parodists, a real magician never uses his sleeves. However, almost never. That will be more accurate. Read these books. They will help you join the art of stage magic and gain the courage to try your hand. To show a trick means to master the first stage of illusionary skill. However, a magician performing in a concert, as a rule, demonstrates not one trick, but several. The second step begins with the question - how should two tricks be combined so that they have stage completeness? These are tricks that can be shown independently of each other. About those that do not follow logically from each other, and each has its own right to exist. How to provide them with stage interdependence? Art is a special area of human activity. It does not always appeal to logic. His weapons are from a different arsenal. It is called upon, appealing to the emotions of people, to create artistic images. We are so arranged that we certainly demand from everything a clear and clearly understood sequence. Meanwhile, a person is not a computing machine - in the sense that he always and certainly thinks rationally and only rationally. Human perception is multidimensional - logical conclusions and intuitive insights coexist in it, and understanding the meaning of what is happening (and especially in art) is dictated by complex and far from always conscious associative processes. Here is an example of this. Many magicians perform manipulation compositions with balls located between the fingers. And for everyone, absolutely everyone, the balls are white - why? According to logical reasoning, which does not take into account the laws of stage perception, magicians should use balls of different colors - so as not to repeat each other. But the artists are right. They are well aware that at a distance, from the auditorium, white balls seem larger than they really are, but it is worth painting them in any other color - yellow, red, and even blue or purple, and even more so - how the audience will think as if the performer is working with balls of reduced diameter. And this impression will always be - with absolutely identical compositions and absolutely equal real diameters of the balls. These are the "little things" that have to be taken into account by the one who went on stage. But our conversation is about the problem of two tricks. How can they be combined into a spectacular whole? The answer is - by expanding the means used. Any? Far from it. Only those who work to create stage unity. Although, perhaps, they are not directly involved in the focus. For example, a magician's costume. What should it be? The choice of costume is dictated by the initial stage task. For example, if an illusionist is going to perform miracles in the style of the Arabian tales "A Thousand and One Nights", a plaid shirt and frayed jeans are unlikely to suit him. Much more appropriate would be a blue cap with gold stars or a white turban - along with a patterned robe girded with a wide belt. Such a costume does not require additional efforts from the performer to bring illusions together, for example, with a jug in which the water poured into it disappears, and with a piece of paper torn into small pieces and then restored. At one time, almost all novice sorcerers began to wear not just anything for performances, but a real tailcoat. Everyone wanted to look like an elegant mage, whether the costume suited them or not. Well, the tailcoat is a classic magician's clothing, dating back to the time of Pinetti, who first appeared before the audience dressed in a tailcoat. However, its thoughtless use sometimes causes a smile. For example, in one of the performances at the "Magic Day" of the Moscow Club of Magicians, a performer in a tailcoat, rearranging magic glasses and mysterious cubes, suddenly set himself such a pace of movements that it was impossible to look at him without laughing - he rushed to one trick object, then to another, tailcoat tails flew up, revealing decks of cards hidden under them and folded scarves ... Each suit must be able to be beautifully worn. He always obliges to a certain style of behavior - and not only, I note, on stage. The choice of costume is directly related to the nature of the artist's stage performance. Suppose a magician performs such tricks during which direct communication with the viewer is necessary - for example, a conversation with him. It is clear that in this case, a sultan over your head made of swaying peacock feathers or, say, a fluttering hoodie with a figured "domino" pattern will be out of place - such an exotic outfit will immediately set the audience in a fabulously folklore mood or in the perception of the Italian "commedia dell'arte" , but certainly not for a confidential conversation. On the other hand, the evening costume familiar to everyone will have the desired effect - the audience, by the external impression alone, will feel their contemporary in the released performer, and the verbal appeal to the audience of the magician dressed in this way will in no way contrast with his stage appearance. And the view should be exactly theatrical - in the sense that a demonstrator of illusionary tricks, dressed even in an evening suit, should by no means look like a lecturer from the Knowledge society or a trade union activist who has risen to the podium. It is not difficult to ensure such a stage presence - you just need to introduce some, so to speak, sign of theatricality, variety. An artistic butterfly, for example. Or a top hat. "A little," as Stanislavsky said. The public will understand. Another component of the performance is the soundtrack. A very important component, although not directly involved in the focus. Most of the time it's music. Piano accompaniment or phonogram recorded on tape. Professional illusionists pay great attention to the choice of musical accompaniment, and that is why their performance seems surprisingly accurately inscribed in the sounding melody - the phonogram is so successful. It is not always possible for a novice sorcerer to find the right music. Honored Artist of the RSFSR Sergei Rusanov gives this advice: - If an amateur magician suddenly finds himself at a loss before choosing a soundtrack, you should not lose heart. You need to take a cheerful, moving, unpretentious melody. There are many discs with such melodies in music stores. But I don’t recommend performing under the song yet. Combining an illusory action with a simultaneously performed song is a very responsible matter and requires a refined artistic taste. It is necessary to say a few words about the design of props. According to the international rules in force at illusion congresses and competitions, the illusionist's props must be decorated colorfully, elegantly - so that the viewer, looking at him, could not take his eyes off for a long time. If these are metal racks or stands, they must be nickel-plated or chrome-plated. If this is the plane of the table - let it be from Plexiglas pleasing to the eye. If the surface of the props gets dirty, clean it and repaint it or cover it with nitro enamel. Everything must be state of the art. It must be remembered that the performance of the magician should become a holiday for the audience. Everything that has just been described here is, perhaps, the simplest components of the phenomenon that we have designated by the word "magic". There are things that are more difficult. stage space and time. I will give the floor to the most experienced master, who has educated many artists of the original genre, the artistic director of the All-Russian Creative Workshop of Variety Art, Leonid Semenovich Maslyukov. - In physics there is such a concept - isotropy. Sameness in all directions, loosely translated. So - the space of variety illusion is not isotropic, - he convinces. - After all, it is clear that the demonstration of variety tricks is focused exclusively on the viewer, sitting strictly opposite the artist. Sit the spectator on the side, and they will get a very small part of the spectacular effect. Therefore, the strength of the impact of the focus necessarily depends on the mutual orientation of the artist and the audience. I'm not saying that, sitting behind the stage magician, you can not only not enjoy the wonderful spectacle, but experience disappointment when you see how simply everything is done. I remember that even Leo Tolstoy was indignant at the artificiality of crudely put together theatrical scenery... And there is still an illusory time, - continues Maslyukov. - Only an inexperienced, novice magician believes that the trick begins when the magician starts the action, and ends when it ends. In fact, everything is much more complicated and mysterious. For some viewers, the starting point may not be a demonstration of sorcery, but a colorful poster they see, for others, a story from friends or parents. The flow of illusionary time should be calculated not from the beginning of the trick and not even from the moment the magician enters the stage, but from the moment the audience begins to wait. Illusion time. What content should be filled with it so that the audience takes with them the charm of the magic actions of the illusionist? So that the holy of holies of a trick trick - the secret of its execution - remains a mystery with seven seals? What principles should demonstrative ritualism obey? Should everything be shrouded in a thick smoke of mystery - or is just one gesture enough? To achieve one of the constant terms of the effect, it is necessary to act, trying on the rhythm of the audience's perception. The semantics of rhythm, unfortunately, has not yet been studied in sufficient detail; the mechanism of its mysterious influence has not yet been unraveled. However, it is known that practitioners often act accurately and confidently where theory is just beginning to draw strength. Then the example turns out to be clearer than abstract presentations of thought. This is how we will do it. Let's start with a situation that is obviously ridiculous. Let's imagine that a glass with a transparent liquid is placed on the table. The wizard lowers a coin into it, covers it with a handkerchief and waits. Spectators are also waiting. An hour passes, then another. Spectators are sitting, the magician and the sorcerer are walking nearby. Finally, the scarf is pulled off. There are no coins. No self-respecting performer of miracles would dare to show such a two-part miracle in time. Partly because the whole course of witchcraft inevitably leads the audience to the assumption that there was acid in the glass, in which the coin gradually dissolved. But the main thing is because the wait turned out to be too long, completely incommensurable with the meagerness of the effect achieved. How much different, more magical looks the same trick in an instant, "rapid" performance! Please - a glass, water, a coin is thrown, everything is covered with a scarf. Waving a magic wand, the handkerchief is pulled off - the coin is gone. Quite a different impression. The trick is done with one magical stroke. No wonder Horace Goldin was called the "whirlwind man" - he performed forty tricks in forty minutes, well understanding the crushing power of the pace. Of course, it cannot be said that simplicity prevailed in his tricks - no. But the preparatory complexity was reasonably hidden from the eyes of the audience, not perceived by them directly, because it remained outside the scope of the demonstration. Like ours: the fact that a small hole was drilled in advance in the coin, that a fishing line was passed through this hole, tied further with a knot; that showing the coin to the audience was previously rehearsed to perfection and thought out in detail - the magician showed the coin by closing the hole with his fingers; that throwing into the water was also a calculated operation - the fishing line must certainly come out of the glass up, then descending along its edge to the table; that the instant lifting of the handkerchief from the glass was rehearsed many times - after all, grabbing the handkerchief with your fingers, you must simultaneously hold the fishing line under the handkerchief, and pulling out the coin - to exclude an accidental ringing blow against the walls of the glass - all this complexity of manipulations, grouped, compressed in one or two seconds, completed quickly, accurately, sniper, leads to a shock effect. And yet the main feature of the focus is not the speed of the demonstration. There are things more important for the illusion than performing tempo. Author: Katashkin A.S.
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