There is more to magic than the mere puzzling of an audience. Certainly, they will marvel, wonder at
There is more to magic than the mere puzzling of an audience. Certainly, they will marvel, wonder at what they have just seen, and try to gue how everything has ha ened. However, a skilled magician will never let the ectators find clues to his magic. With a well-prepared choreography and a lot of practice prior to the actual presentation, conjurors hold the e ential part to working their magic trick on their audience. Present-day illusionists almost all of them or at least those claiming to po e the skill choose to start their magic shows with a pre-established card trick. The key is in the visual impact upon the ectators, as well as in the effortle e the magician seems to invest in the whole proce . Nothing is more bewildering to an audience than the a arent ease with which a conjuror seems to perform such a magic trick.
Frequently, people find that a well-performed card trick is particularly agreeable precisely because they ca ot tell with accuracy how the performer tricked them into seeing what he wanted them to see. Magicia , beware! Most often, you will deal with intelligent audiences who will do their best to put their finger on the ecifically deceiving moves that must have accompanied your magic. This is how most of them think, unle you are dealing with children whom we all know to stay always prepared for newer and newer magic to amaze them. However, do not underestimate a childs ma er of perceiving things. You may find, more often than not, surprising (to you) reactio to your magic trick moves, coming from children.
Generally, audiences di lay a preference for tricks performed with cards, because many of them create the o ortunity of getting close to the magician and to the cards. Although you can a roach a card trick in stage magic circumstances, it is nonethele one of the tricks that remain the strong point of close-up magic. If performed by a seasoned magician, a sleight of hand looks like just another regular move. With an exercised sleight of hand, tricks with cards turn into some of the easiest magic tasks you have ever completed. Practically, two sides are e ential to the efficient performance of such tricks. First, you need the legerdemain (the sleight of hand) practiced attitude and then you need the aptitude to get away with it, uno erved by the ectators eyes.
The legerdemain part obtai its best use if you have patience to learn it until it becomes into just another normal move of your body this is how you have to perceive it and this is how your audiences should perceive it. Whether it is close-up magic circumstances that you will a roach or whether you will act in stage magic conditio , their eyes will watch your every move. This is why it is important to provide your moves particularly the sleights of hand with a natural, a arently inartificial a earance, so that they will su ose all the time that there could be no trick in such normal moves. To what concer the ability to make them believe what they see, this is, in fact, your ability to control them. By making your moves seem as natural as po ible, you are redirecting their attention to le important a ects in your performance, i.e. the a ects you can control with the utmost ease.
Generally, when you are performing a card trick, you should do your best to make sure your audiences are not permanently watching your hands. In fact, this is the secret with any magic trick: you need to learn how to misdirect. You can do that in more ways. One of them is to get your ectators to like you and, thus, to want to enter your game with the curiosity and amusement of children in the case where you are not already in front of such a young audience. Try to introduce your card trick or any other trick, for that matter with a joke or a question. This part of the show also requires a lot of practice, because your words must a ear as natural and as amusing as po ible.
Then you should remember that, when a technique such as the legerdemain is nece ary, eye contact is e ential for the control of your watchers. Generally, they tend to look where you look, and if you watch your hand moves, they will watch them. If you can look into their eyes and add a little joke while you are operating the magic sleight of hand, you may be sure you have attained your goal. In any case, do not panic if they seem too willing to watch your hands. Keep trying to make eye contact. It is impo ible for them to stay all the time with their eyes fixed on your hands. Our ma ers and education always push us into offering feedback with a look to someone who is watching us in a direct ma er. Therefore, do not worry that your magic trick will fall to pieces. Every now and then, they will look into your eyes, in their turn, and then, if you have practiced your sleights of hand sufficiently, you will be able to work your magic.
Finally, keep in mind that no magic trick will work if you do not create an agreeable, inviting atmo here. In close-up magic, inviting your audience to be a part of the ell is what they expect and what they enjoy most. You should include in your program card tricks that actually involve the ectators. Ask for volunteers. You will see that many of them are willing to become an active part of your show. If you have prepared it well, things will work smooth and you will provide your audiences with an enchanting touch to their day.
Frequently, people find that a well-performed card trick is particularly agreeable precisely because they ca ot tell with accuracy how the performer tricked them into seeing what he wanted them to see. Magicia , beware! Most often, you will deal with intelligent audiences who will do their best to put their finger on the ecifically deceiving moves that must have accompanied your magic. This is how most of them think, unle you are dealing with children whom we all know to stay always prepared for newer and newer magic to amaze them. However, do not underestimate a childs ma er of perceiving things. You may find, more often than not, surprising (to you) reactio to your magic trick moves, coming from children.
Generally, audiences di lay a preference for tricks performed with cards, because many of them create the o ortunity of getting close to the magician and to the cards. Although you can a roach a card trick in stage magic circumstances, it is nonethele one of the tricks that remain the strong point of close-up magic. If performed by a seasoned magician, a sleight of hand looks like just another regular move. With an exercised sleight of hand, tricks with cards turn into some of the easiest magic tasks you have ever completed. Practically, two sides are e ential to the efficient performance of such tricks. First, you need the legerdemain (the sleight of hand) practiced attitude and then you need the aptitude to get away with it, uno erved by the ectators eyes.
The legerdemain part obtai its best use if you have patience to learn it until it becomes into just another normal move of your body this is how you have to perceive it and this is how your audiences should perceive it. Whether it is close-up magic circumstances that you will a roach or whether you will act in stage magic conditio , their eyes will watch your every move. This is why it is important to provide your moves particularly the sleights of hand with a natural, a arently inartificial a earance, so that they will su ose all the time that there could be no trick in such normal moves. To what concer the ability to make them believe what they see, this is, in fact, your ability to control them. By making your moves seem as natural as po ible, you are redirecting their attention to le important a ects in your performance, i.e. the a ects you can control with the utmost ease.
Generally, when you are performing a card trick, you should do your best to make sure your audiences are not permanently watching your hands. In fact, this is the secret with any magic trick: you need to learn how to misdirect. You can do that in more ways. One of them is to get your ectators to like you and, thus, to want to enter your game with the curiosity and amusement of children in the case where you are not already in front of such a young audience. Try to introduce your card trick or any other trick, for that matter with a joke or a question. This part of the show also requires a lot of practice, because your words must a ear as natural and as amusing as po ible.
Then you should remember that, when a technique such as the legerdemain is nece ary, eye contact is e ential for the control of your watchers. Generally, they tend to look where you look, and if you watch your hand moves, they will watch them. If you can look into their eyes and add a little joke while you are operating the magic sleight of hand, you may be sure you have attained your goal. In any case, do not panic if they seem too willing to watch your hands. Keep trying to make eye contact. It is impo ible for them to stay all the time with their eyes fixed on your hands. Our ma ers and education always push us into offering feedback with a look to someone who is watching us in a direct ma er. Therefore, do not worry that your magic trick will fall to pieces. Every now and then, they will look into your eyes, in their turn, and then, if you have practiced your sleights of hand sufficiently, you will be able to work your magic.
Finally, keep in mind that no magic trick will work if you do not create an agreeable, inviting atmo here. In close-up magic, inviting your audience to be a part of the ell is what they expect and what they enjoy most. You should include in your program card tricks that actually involve the ectators. Ask for volunteers. You will see that many of them are willing to become an active part of your show. If you have prepared it well, things will work smooth and you will provide your audiences with an enchanting touch to their day.
Thanks for information.
toronto magician
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December 11, 2015 at 7:16 AM