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��THE ART OF PERFORMANCE IN MAGIC & MENTALISM Rio de Janeiro, Brazil Notes by ALEXANDRE eBook version not for resale. If you purchased a printed copy of this document Please report it to: www.EyesandMinds.com � 2002 by Eyes and Minds Entertainment Corporation ALEXANDRE Table of Contents Introduction Pg. 3 How Important Is Acting Ability? Pg. 4 Is There A Quicker Way To Become A Better Performer? Pg. 5 Can You Talk About Patter? Pg. 6 Is Personal Appearance Really That Important? Pg. 7 How Important Is Music In A Performance? What Kind Of Music Should I Use? Pg. 8 How Do I Find The Best Effects? Pg. 9 Any Words Of Advice Concerning The Creation Of a Stage Persona? Do We Even Really Have To Have One? Pg. 9 When Do I Know When I m Truly Ready To Perform? Pg. 10 How Do You Keep Spectators From Messing You Up? Pg. 11 How Often Should We Be Seen In The Public Eye? I Don t Want To Overdo It. Pg. 12 Do We Have To Always Create Routines? When Do We Know How Much Rehearsal Is Enough Before A Show? Pg. 13 What Is The Most Important Aspect Of Performance? Pg. 14 When Can I Consider Myself A True Professional In This Field? Pg. 15 2 The Art Of Performance In Magic & Mentalism INTRODUCTION Over the years I ve been asked few questions concerning Performance in Magic and Mentalism, it appears some people are more interested in what are the best effects , secrets , how to make money and what are the new tricks, disregarding almost completely what I consider to be one of the most important aspects of our art, a subject that needs to be carefully studied if one is to succeed as a professional or even hobbyist entertaining friends on weekends. So after returning from a recent trip overseas, where I am happy to report I received many questions on this issue, I was inspired to create this booklet. I believe the trick one performs is not as important as the way it is performed, and that most tricks no matter how bad they are as effects, can be made into something by a good performer. You should learn to value and appreciate how important Presentation is to Magic and Mentalism. I ve met many Magicians and Mentalists and I ve had the opportunity to see them work, unfortunately some seem not the least interested in proper presentation. It s not one thing alone that makes an effect go right or wrong, it is a combination of things, like: Acting Ability Personal Appearance Routine and Patter Properly Chosen Effects Professionalism Music Audience Control Self Confidence Stage Persona Entertainment Value I touch on most of these subjects in this booklet and naturally I ve tried out these principles before talking and writing about them I know they work and I m confident that anybody can also make them work if they want to. I realize that a subject of this kind demands a lifetime of experience, understanding, and appreciation of magic as a whole. I want to make clear that the expressions here contained are my personal view. I hope the following helps you in some way. 3 ALEXANDRE How Important Is Acting Ability? We find ourselves in a peculiar situation in which we are forced to perform an intentional act while not allowing the spectators to be aware of any sense of intention, and perhaps I m biased having studied theater in college and performed in quite a few plays over the years, but for this and other reasons, I believe the better actor you are the better performer you ll become. Particularly in Mentalism where the demand for a better performance is even greater. If you can get into an acting class somewhere or at least pick up a couple of books on the subject at your local library I believe you can only gain from the education. A big part of an entertaining performance comes from your expressions, your eyes. Acting ability definitely helps here. 4 The Art Of Performance In Magic & Mentalism Is There A Quicker Way To Become A Better Performer? If anyone here is under the impression that a good performance will come easy you re headed the wrong way and probably towards a number of avoidable pitfalls. It takes a concentrated effort to achieve naturalness, smoothness and personality as a performer. Looking for a faster, easier way will demand the least amount of effort we see this in manufacturing all the time the easiest way is the cheapest way, which is the most profitable way so some of us search for a method of doing things the easy way, which may apply to other areas of business, but not here, not presentation as we should view it. Art seeks to create an effect and an effect is not always created the easy way, in fact sometimes it can be very difficult to accomplish, so to answer your question there really is no easy way to create a desirable effect on your spectators. With your art you should take that extra bit, that extra care, that extra push for it to be clearly effective. The Performer is involved in an endless learning experience because he or she is always facing new venues, presenting different effects, and dealing regularly with a varied audience. For those of you having a hard time with Performance, I ll comfort you in saying that you re probably on the right track if it s uphill. 5 ALEXANDRE Can You Talk About Patter? I find that many Performers choose to use what is written in instruction booklets and I suggest you don t. You should try never to use someone else s words, adapting the chosen effect to your personality and style of performance. This very subject is what will set you apart from the rest. I have seen effects that look completely different because of the Performer s creative approach to it an audience really appreciates that. Creativity here is key. If you can help it, when you come across an effect you like, avoid looking at the presentation and patter included until you ve had some time to think about how YOU would perform it. In deciding what to do, take a look at yourself and everything around you, think of books you ve read, or movies you ve seen and come up with an interesting angle for a presentation. Look for the story, a brief one is fine, present the effect in a new light whenever possible, go as wild as you like if that s your style, but don t use the same old patter and presentation used by most people owning that particular effect. If you happen to be stuck and can t come up with something on your own, show the effect to trusted friends (not the secret naturally) as plain as you can and ask them what came to mind as they saw it, what did it remind them of, or how they would fit it into a story. I ve tried this approach a couple of times in the past and it works, some great ideas have been generated in this manner. If you say you don t need all of this, let me tell you that it s a mistake to think you can come up with the right words as you go along during a Performance, just as I believe it s a mistake to learn your patter word for word reciting it like a parrot. Somewhere in the middle is perfect, where you know what to say, yet have the flexibility to adapt to your environment. In my opinion to succumb to unoriginality on this issue is to embrace mediocrity in your art. 6 The Art Of Performance In Magic & Mentalism Is Personal Appearance Really That Important? A New York hipster once said that you should dress like you re going somewhere better later, Jeff McBride sticks to that and I think it s great advice. If you don t care to go that far at least look presentable and clean. Put thought into this because the public will judge you whether you like it or not, and their impression of you will weigh on how well your performance will be. When you re ready to appear, make the right appearance. 7 ALEXANDRE How Important Is Music In A Performance? What Kind Of Music Should I Use? Music plays an important part because it adds to the mood of the moment you re trying to create. Working music into your Performance is a valuable tool, but make sure it doesn t distract from what you are saying or doing. Use music as it is used in movies, pay attention next time you see a film and you ll know what I m talking about. Oftentimes you can t even remember the music because it was used specifically to enhance the mood of a particular scene. If you approach music in this way you can t go wrong. In choosing the kind of music you ll use, keep in mind the kind of mood you want to create, and don t use what everyone else is using, use what moves you, and your performance will be that much better for you and for everyone watching. On a philosophical note, music helps in giving rhythm to your performance, though this rhythm has to be different than the expected rhythms of ordinary life in order to command attention. Your Performance rhythm should not be depressing or degrading to your audience, it should move to dominate and interest. 8 The Art Of Performance In Magic & Mentalism How Do I Find The Best Effects? What are the best effects? I ve been asked this question tons of times and in my opinion the best effects are those that work well with you and your style of performance. I ve seen the simplest effects used in amazing ways and I ve seen wonderful effects destroyed by the performer. Don t follow everyone else here, work with effects that speak to you on some level. Whatever those are, they are the best effects for you. Any Words Of Advice Concerning The Creation Of a Stage Persona? Do We Even Really Have To Have One? Young performers are often confused as to who they are supposed to be while performing. They hear things like Create a compelling character or Just be yourself . I think it depends on what you want to accomplish and who you are or want to become. Some people are more comfortable creating a very different stage persona while others have natural charisma and prefer mostly being themselves on stage. It s clearly a matter of choice and one that needs individual introspection. I think aspects of theater study help greatly in this regard. Maybe making a character sketch will help clear up any confusion as to your chosen personality. Your Character Sketch should hit on tones like drama and comedy; it should include where you like to perform, costuming, creative ideas and approaches. Sometimes this studied definition of your persona completes you as a performer and makes room for possible intelligent growth in your performances. This is important because I feel the character many magicians play has not been chosen by them at all, but have come about more or less by default in watching other magicians, and either consciously or subconsciously imitating what they ve seen others do. I find that general awareness in this process is essential. 9 ALEXANDRE When Do I Know When I m Truly Ready To Perform? This is an important question because you can spend a lifetime reading books, watching videos and getting prepared . Once you ve learned a couple of things well and have given their proper rehearsal time, get out there and entertain. Don t be a nuisance, of course, but perform for whoever wants to see. Put together a dinner party with other magicians where everyone does something and do it in a public place so you can consequentially call attention to yourselves. Once you ve been honest with yourself that you re well rehearsed with an effect get out there and show it around, this is the only way you ll become an entertainer and it shouldn t be too hard because most people love magic even though they might pretend they don t. Become aware of opportunities to perform in casual surroundings. Lose the fear of messing up. In failing we succeed sometimes learning from our mistakes and bettering ourselves as entertainers. If you want to perform and entertain than perform and entertain, it doesn t get simpler than that. 10 The Art Of Performance In Magic & Mentalism How Do You Keep Spectators From Messing You Up? Unfortunately this is something that really can t be taught, but to get you to face the right direction I ll say you can control an audience by experienced communication, your particular art, technical perfection, and stage manners. I don t mean you can t clown around, joke, act crazy or even seem seriously strange, but respect the arts of stage presence that help reduce spectator interference. You have to gain experience and until then you do the best you can. Watch the professionals and you ll rarely see a spectator threatening a performance with annoyances. The pro exerts control and handles disruptions appropriately, meaning they almost never come out with a witty response as this will usually make matters worse. Sometimes ignoring them works because the audience will tell the culprit to shut-up as he becomes a distraction during a performance people WANT to see. You can try to have some set responses ready that are a bit funny but never insulting, and never lose your temper or get defensive. Ever. You ll look ridiculous. Another point related to this, is that before a performance you should always visit the place you re performing at, get familiar with your surroundings and take a look around to see what kind of people might frequent there. Being prepared in this sense also helps in avoiding a tough situation during your act. For those other times when you mess yourself up, keep in mind that even the most rehearsed make mistakes and keep going with your performance, often the audience won t realize you goofed. If it s too obvious, you may just admit it Gee looks like I ve messed this one up, but moving right along, or something along these lines. 11 ALEXANDRE How Often Should We Be Seen In The Public Eye? I Don t Want To Overdo It. Good. Without overdoing it, as often as you can. Certainly don t isolate yourself, but don t become so incredibly available either because availability is a dominant psychological factor that will determine your worth. By making yourself too available you diminish your value. To be regarded as a true professional in your field you have to maintain yourself in the public eye, so it s important to get a website, look for ways to get interviewed, attend special events in your city, get your picture in the paper ... never overdoing it and always, always doing it professionally. 12 The Art Of Performance In Magic & Mentalism Do We Have To Always Create Routines? When Do We Know How Much Rehearsal Is Enough Before A Show? To achieve a successful presentation it s important that you come up with a routine and know it completely. You should know what you ll say, what you ll do, and if your effect requires misdirection, your method of diverting attention at that specific moment. Putting your act into a routine requires time, thought and creativity. There are no shortcuts here. You have to make an effort to create an interesting connection between your chosen effects. Completely rehearsing your performance should go without saying, but some performers get caught up in creating routines and practicing effects not putting nearly enough time into perfecting their performance. Creating a routine is like telling a story beginning, middle and end. Start with a bang to grab their attention, carry them to different points of emotion and tension, until the mind-blowing finale. During your rehearsal keep in mind that the magic should happen in your mind if you believe the magic works then it will for your audience as well if you don t, the performance will fall flat. It s all in the eyes and this needs to be rehearsed. Record your rehearsals and performances, you ll be amazed at how much you can learn from this. Look for smoothness and naturalness, being aware that all unnecessary actions should be avoided as they call attention to trickery in the eyes of the audience. Develop awareness when watching yourself and learn to be critical. For some people this self-criticism is very difficult, in which case you should look for someone you trust to do it for you. 13 ALEXANDRE What Is The Most Important Aspect Of Performance? That it be entertaining, this is what any performance is all about and this is our ultimate objective. Regardless of what you choose to do with your effects during a performance, it better be entertaining or you re sunk. This is why you re here, to better entertain, don t fool yourself into thinking otherwise. Acknowledging the audience is also important, they love being looked at. Glance about the room periodically addressing your remarks to each individual audience member who meets your eyes. They feel recognized by you amongst everyone present. Smile sincerely both with your lips and eyes and you ll create a bond that will reward you with applause and approval. A degree of affinity with the audience should always be present. Don t cut off or dodge applause, accept it, as this is their contribution to the performance. Never turn your back to them and never express embarrassment or stage fright even when you feel it, force yourself into a physical appearance and expression of poise. Without the entertainment value in our performances ... we are nothing. 14 The Art Of Performance In Magic & Mentalism When Can I Consider Myself A True Professional In This Field? A professional is someone that can produce a high quality product. A professional knows the rules of the game as a matter of course so that he can achieve a high quality of art. The tale is told by the effectiveness of his or her art on the intended public. Anyone can turn out amateur junk, remember that. Magic or luck won t make a professional, hard-won know-how carefully applied will. You ll know it when you re there. Now get out there and win, what else is there to do anyway.... ALEXANDRE - 2002 15

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