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EFFECTIVE FOCUSES AND THEIR CLUES Ball exercises. Tips for a magician
Directory / Spectacular tricks and their clues Each series of tricks must be preceded by appropriate preparation. Tricks built on the elements of manipulation will become available to the performer only when he develops his manual dexterity well enough. Hands should be smart obedient and plastic. Before mastering the techniques of manipulation, you need to train your hands. The magician needs to master a number of exercises with the ball. These exercises result in a cascade of beautiful etudes of manipulation, which, after careful training, can be demonstrated as a number. Ball manipulation - springboard for more complex manipulations with many round or oval objects. But before proceeding to the description of the exercises, I want to make one warning. Many professional artists of our genre use various powders (magnesia, talc, rosin) to rub their palms to make it easier to manipulate. I don't recommend doing this. If the powder facilitates the manipulation of one object, say, a marble, then in the manipulation of cards it will do a disservice. Believe my great experience: everything should be based on a perfect hand technique. Rely only on your work. Patience and perseverance will achieve the desired results. It is better to analyze exercises with a ball at the same time as reviewing the drawings for them. Naturally, you first need to purchase a ball. Never use table tennis balls. They are not suitable for training or for performances. It is necessary to make a ball of wood or light metal with a diameter equal to a ruble coin. The inside of the ball should be hollow. If it is wooden, varnish it - red, white or black. The colored ball is clearly visible from the stage. If the ball is made of metal, it must be nickel-plated. A preliminary warm-up begins with a massage of each finger of both hands in turn for 1-2 minutes. Then comes the warm-up of each finger separately and both hands at the same time - flexion and extension of the fingers. After that - "warming up" the muscle at the base of the thumb. The palm and four fingers are extended, and the thumb is perpendicular to the index finger and forms a right angle with it. Circular movements are made with the thumb, first clockwise, then against - 40-50 times in each direction. Now the hands are ready. You can start the exercise with the ball. a) Take the ball and go to the mirror. It will be your controller. The mirror will immediately reflect the slightest falsehood, awkwardness and carelessness in work. Hold the ball with the fingers of your right hand. The left hand is open. Now put the ball in the recess in the middle of the left palm. You will feel how comfortable it is. But the ball must be held in the palm of your hand when turning its back to the mirror, for this you should include the muscle of the base of the thumb from the side of the palm. We will conditionally call it the root pad of the thumb. Press the ball with this muscle - and it will hold great in the palm of your hand. But we must not forget that all fingers should be extended. The brush should be released from tension and its natural position should be maintained. Now slowly turn your left palm to your left, closing it at the same time with your right, and at this moment pass the ball into your right palm. When the ball is securely taken by the right hand, take the left empty palm even more to the side and fix for a moment that it is free from the ball. Then pass the ball back from your right hand to your left. At this point, both hands will go to the right. At first, the exercise is performed very slowly. The movements of the hands during the transfer of the ball should be smooth, and the palms should be sliding, without any delay. It turns out something like stroking the palm of the hand. When you have mastered this exercise to perfection, and it is far from easy, you can try to play the very "delivery" of the exercise, that is, present it artistically. B) Taking the ball with your right hand, you make a deceitful movement, supposedly indicating that you are transferring it to your left hand. At this moment, the left hand, as if receiving a ball, clenched into a fist. But it's empty. Meanwhile, the ball is clamped in the right fist, the performer, stretching out the index finger of the right hand, points to the left hand, emphasizing the imaginary location of the ball (Fig. 32).
Following this movement, the fingers of the right hand are extended, unclenching the fist; Now the audience is sure: the ball is not in the right hand, because it is open; so it is held in the left hand. But this is only the appearance that the performer has created. In fact, the ball quietly continues to lie in the right palm. Now it's time to surprise the audience. The performer opens his left fist and shows an empty palm. How so? Where did the ball go? And then, as if nothing had happened, the right hand of the performer removes the ball from under the left sleeve. This can already be called a focus. C) Let's move on. Again fictitious transfer of the ball from the right hand to the left. In fact, the ball remains in the right palm. The performer opens the left one and shows it to the audience. The right hand with the ball is near the back of the left hand. Then the ball is pressed against its central side with the thumb of the right hand. At the same time, the right palm with fingers extended parallel to the left is facing the audience, and thus shows that the ball has mysteriously disappeared. Then the right palm goes behind the left, picks up the ball, and both hands of the performer with outstretched fingers go down, facing the audience with their backs. Then the right hand with the ball makes a smooth movement to the side. As if catching a ball from the air, the performer shows it to the audience. D) Both hands are turned with their backs to the mirror, and during the demonstration of the focus - to the audience. The left hand with outstretched fingers is located parallel to the right hand and is turned towards it with the thumb. The fingers of the right hand are clenched into a fist. The little finger, ring and middle fingers at this moment touch the root pad of the thumb, and the index and thumb form a circle, touching each other with their tips (or nails). The ball is embedded in this circle. Thus, in the fist, more precisely on its surface, a magnificent platform for the ball was formed. It is conveniently located, slightly deepening into it, supported from below by a bent middle finger. Now the left hand of the performer goes down, touching the right hand with the outstretched index finger and obscuring the ball with the palm of his hand. Then follows the movement of both hands, which is performed simultaneously absolutely synchronously: the left palm is clenched into a fist, creating the appearance that the ball has already been taken by it, and, having separated from the right hand, moves slightly upwards to the left, and the right hand masks the ball. This happens as follows: the circular platform created by the index and thumb opens. Then a few fists are unclenched, forming a well into which the ball instantly falls, having lost its support. The little finger remains more bent at this moment, which forms, as it were, the bottom of the "well" and delays the ball from falling to the floor. Now, when the ball has disappeared into the right fist, his index finger is extended and points towards the left fist, as if suggesting that the ball is in it. In fact, the performer easily hides the ball in the right palm in a way already known to you and, giving free rein to his imagination, takes it out of his vest, and then suddenly, stumbling, pulls it out from under the heel or trouser leg. All this looks very funny. Usually many other combinations are added to these combinations, including removing the ball from the mouth. But I think this is unaesthetic and therefore unacceptable. I do not advise including this in the program of the room. Always strive for a subtle and noble style of presentation of tricks, so that cheap stuff, buffoonery does not suddenly come out. Author: Akopyan A.A.
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