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Derren Brown
MAGIC BOOKS
Authors Note
hose of !ou who ha"e seen me perform w#ll $e aware that I ha"e mo"ed awa! from con%ur#n& mater#al to wor' w#th the area of our profess#on that deals w#th m#nd read#n& and ps!cholo&#cal effects( h#s t!pe of performance has alwa!s #nterested me more) and the de"elopment of &enu#ne h!pnot#c) su&&est#"e and persuas#"e s'#lls has come to mean more to me than learn#n& sle#&ht-of-hand( h#s #s) howe"er) a $oo' a$out the presentat#on of more trad#t#onal ma&#c) wh#ch const#tutes m! $ac'&round and #s st#ll someth#n& I en%o! #mmensel!( he reader w#ll detect a stron& lean#n& towards mental effects #n m! wr#t#n&) $ut althou&h much w#ll $e sa#d to #nterest the mental#st) th#s $oo' #s not des#&ned to $e purel! a$out such th#n&s( M#nd read#n&) for me) #s #mmensel! personal* the st!le and approach I de"eloped were $orn from m! feel#n&s towards the presentat#on of ma&#c as a whole( I tend to 'eep the deta#ls of methods to m!self #n th#s area* I would hope to let m! performance efforts spea' for themsel"es( If a non-ma&#c#an has found h#s wa! to th#s $oo' throu&h +er Ma%est!s Internet and wishes to 'now how I perform m! m#nd- read#n& or learn more a$out ,m#nd control techn#-ues) he w#ll $e "er! d#sappo#nted) and #nfur#ated $! the fact that he had to pa! such an unreasona$le amount of mone! to $e so let down( #t a ma&#c#an has p#c'ed th#s up to learn some new tr#c's) then a&a#n he has $een m#s&u#ded #n h#s e.pectat#ons) for I dont teach an! here( I hope what I ha"e to sa! w#ll $e of more "alue( h#s #s a $oo' a$out powerful close-up con%ur#n&) and I #ma&#ne #t w#ll $e the last word I shall offer on the su$%ect for a wh#le( M! #nterest #n the ps!cholo&#cal aspects of ma&#c) com$#ned w#th m! des#re to ut#llse m! other $ac'&round as a h!pnot#st) has led me to new waters( But I felt there was st#ll much I had to sa! on the su$%ect of commerc#al close-up ma&#c) and I trust #t w#ll $e of #nterest to the 'een performer( /erren Brown
Havana
0112
+owe"er) #n that the follow#n& wor' was wr#tten at the pea' of m! #n"ol"ement w#th trad#t#onal ma&#c) and $ecause m! ,ps!cholo&#cal mater#al #s st#ll $orn from the same $el#efs and pass#ons set out here) I hope #t stands as a worthwh#le "olume on the su$%ect( A couple of #mportant notes( Some people too' e.cept#on to %o'es made ### the f#rst ed#t#on a$out the character of Gu! +oll#n&worth( 5hen th#s was $rou&ht to m! attent#on I real#sed m! comments had certa#nl! $een m#s%ud&ed( Id l#'e to state pu$l#cl! that Gu! does not snort) nor has e"er snorted) coca#ne $efore perform#n& or #ndeed at an! other t#me) and that he #s not e"en the "ul&ar) flatulent ra&amuff#n that I occas#onall! and #ron#call! portra! h#m as here) +e #s a &entleman and a fr#end) and apart what seems to me to $e a d#sappo#nt#n& taste #n mus#c theres noth#n& I can sa! a&a#nst h#m( Apolo&#es for an! em$arrassment caused( On a s#m#lar note) #t was also ment#oned to me that an #ndel#catel! turned phrase re&ard#n& the super$ performer Noel Br#ttens emplo!ment of Stan#sla"s'#s 6Ma&#c if had caused offence to a few people( Upon re-read#n& #t) I real#sed #t could $e ta'en to mean the oppos#te of what I #ntended( I wrote that he had emplo!ed the techn#-ue ,dou$tless unawares) mean#n& onl! unconsciously: I wanted to cred#t h#s superlat#"e #ntu#t#on as a performer #n a$sor$#n& th#s techn#-ue and ma'#n& #t second nature 7as #t seemed to me8) $ut #nad"ertentl! su&&ested that he was %ust pla#n #&norant of #t( I hope m! mean#n& #s now clear) and I ha"e remo"ed the am$#&uous phrase( Apolo&#es( Some ha"e compla#ned that I use unnecessar#l! "ul&ar lan&ua&e) espec#all! at the "er! start of th#s $oo'( I would s#mpl! refer the reader to the f#rst draft ed#t#on of Tarbell, wh#ch was l#ttered w#th #ndel#cate cartoons) lewd references to Mrs( ar$ell) and r#fe w#th the lan&ua&e of the cloaca( No one &ot upset a$out that( I ha"e made one or two other chan&es) wh#ch #rr#tated me from the f#rst ed#t#on) and &enerall! spea'#n& these are all t!po&raph#cal(( Other than that) th#s $oo' #s splend#d(
h#s book is dedicated to my friend Teller, whose eloquent and erudite ctrrispondctwe ga e shape to my understanding of the relationship between magic and theatre! "think no one understands that dynaink more than he, nor creates magic as artistically resonant! This book
I can onl! tal' a$out m! ma&#c) and the "#s#on of ma&#cal performance that I ha"e( In e.plor#n& m! part#cular "#s#on) I w#ll ha"e to mo"e from d#scuss#on of an #deal) to the role that the #deal has #n actual performance( It #s not m! place to d#ctate what #s r#&ht or wron& #n ma&#c I am) I repeat) merel! sett#n& out m! own model) al$e#t #t one wh#ch #s founded on some stron& op#n#ons(
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So do not m#sta'e m! apparent s#n&leness of "#s#on for a con"#ct#on that I ha"e found he 5a!( I am merel! descr#$#n& a %ourne!) and tr!#n& to $e as honest as poss#$le a$out #t( I am st#ll !oun& and handsome) and real#se that #n future !ears I ma! loo' $ac' on th#s $oo' and cr#n&e( But #t feels r#&ht now) as I push th#rt!( So #f I appear to $e demarcat#n& !our creat#"#t!) then pa! me no attent#on( Step $ac' a $#t and see #t I or what #t #s* %ust m! current understand#n& of our wonderful profess#on( hese th#n&s are what I pass#onatel! $el#e"e) and I can onl! set them out w#th the con"#ct#on that the! #nsp#re #n me and the #mportance that the! ha"e #n m! l#fe( Ma'e of them what !ou w#ll) and ta'e from them what spea's to !ou( I w#sh !ou all the $est w#th !our ma&#c and hope that !ou constantl! re-d#sco"er #t(
he cause in this case is the mnagicians w%ll! /e wills it0 it comes true!
This is not a drama about a human being! ft is the depiction ofa god! generally a capricious and tri ial omit! )nd us 1ust as dull as the biography of any omnipotent being would be! %t contains not a smidgen of genuine cnimflul "again! think of standard card*fan productions, howrtc proficient2! )nd without this conflict, the mnagkia!0 in a pos%tion of god *f ike power at all flairs has ncr aflicker of humanity! Now) lest you thick im talking about staging eucrything as a magic ptay "which generally reinit me2 let me say at once: to be true con1uring, the 'cesw must be here in tin theatre or the ca3-rrt or the rood> the time must be now at ?*21 pin! Philadelphia time! The characters roust, at least %c some sense, include the magician, the audience, the stagehands, ideally the security guard! /ere and now is all part of tire grammar of this art form!
Act I 4cene %
Enier 5odot
Starting Points
63.cuse me, S#r) $ut d#d !ou lose a wh#te pen'n#fe@=
And with these words, the magic fell stillborn from the womb! 6romthen on, there was only
tolerance! E7cuse me, you rude, shabby man, we are en1oying an e ening together! ( think it not unreasonable to e!qect that we couid en1oy our meal and each others company without an arse in a bad tu7edo asking if we know that black cards are hea ier than red cards! They are stat, and e en if they were, % think that you are mistaking inc f8r someone who could, with a gun aimed at my temple, glut a damn! There are waiters here who ha e learnt a mar ellous sensiti ity to their patrons, who are deft and subtle, charming and professiona# 9ou make my wife and me want to lea e! )nd for the lo e of 5od why do you humiliate yourself like this. 4o that we can watch you make coins mo e from hand to hand, and listen to you talk rubbish. )nd get that fricki rig mouse*mat off our table! /a e you a$solutel! no manners.
+a"#n& l#ttle $etter to do) I thou&ht I would ma'e th#s #ntroduct#on a rant) and ment#on some $as#c pro$lems w#th ma&#c as I see them( I shall r#s' seem#n& arro&ant #n order to set out some of the #ssues that th#s $oo' w#ll deal w#th( 2 shall w#n !ou $ac' later w#th m! del#&htful w#t and appeal#n& narrat#"e "o#ce) %ust wa#t and see( If 7here #s one th#n& that most contemporar! western close-up ma&#c &enerall! lac's) #t #s the e.per#ence of ma&#c( here are man! s'#lful d#spla!s) there #s much $ad comed!) there arc man! amus#n& puAAles to sol"e) $ut "er! l#ttle ma&#c Ber! l#ttle r#ch) resonant ma&#c( ;arel! doe(s the performer ha"e an a#r a$out h#m of #ntr#&ue and w#thheld potent#al of someth#n& mar"ellous( And hardl! e"er does he ta'e a fasc#nated spectator $! the hand and lead her #nto a Ne"er-Ne"er Cand where she can &l#mpse a le"el of enchantment that touches and chan&es her a l#ttle( here are man! tr#c's) and man! effects) $ut rarel! a Grand 3ffect( here are man! enterta#ners) $ut few real ma&#c#ans( Man! techn#c#ans) $ut few art#sts who use the#r art to e.plore the#r "#s#on( h#s $oo' #s a$out performance) and a$out that pecul#ar area of performance that e.#sts when the mater#al #tself #s remo"ed( If the tr#c's are remo"ed from the e-uat#on) what rema#ns@ I $el#e"e the $ul' of the performance should rema#n( h#s #s the area where the art#sts "#s#on #s real#sed and where the transportat#on occurs( It #s where the "ast num$ers of consc#ous and unconsc#ous) "er$al and s#lent commun#cat#ons of the performer create a &rand framewor' and a ma&#cal character that #s the Greater 3ffect) the home of true ma&#c to wh#ch the tr#c's are merel! s#&nposts( h#s $oo' #s also a$out real#s#n& th#s model and ma'#n& #t enterta#n#n& and commerc#al) for some of us are luc'! enou&h to earn our l#"#n&s &#"#n& people a &l#mpse of true enchantment and must 'eep our cl#ents w#shes #n m#nd( 5#th#n the unthreaten#n& constra#nts of enterta#nment) wh#ch form the start#n& po#nt of the ma&#c#ans performance) the aud#ence can $e seduced #nto the e.per#ence of someth#n& far more wondrous than the! e.pected( he po#nt where enterta#nment and real ma&#c meet #s that of drama(
5hen ma&#c #s dramat#call! resonant) #t can enterta#n and affect #n the wa! that &ood theatre can( heatre and ma&#c are #nsepara$le constructs( I here #s a raw) natural theatre at the close-up ta$le that can $e man#fested #f the performer w#shes to transcend mere tr#c'er!( Much has $een wr#tten on ,showmansh#p) $ut showmansh#p Ds a cheap su$sUtute 7or tharna( /rama #s not a$out applause cues( Somet#mes the ma&#c#an w#ll prefer to pro"o'e a deep s#lence or a su$tle response) rather than #mmed#ate and enthus#ast#c no#se( It #s the moment $efore the applause that #s #mportant #t #s the aud#ences understand#n& of an emot#onal mean#n& that shoc's and surpr#ses w#th #ts une.pected clar#t!( hat #s drama) not showmansh#p( Ma&#c #s $ad drama( It #s theatr#call! unsound( As eller wr#tes #n the p#ece -uoted) we ha"e #n ma&#c a &od-f#&ure) who cl#c's h#s f#n&ers and fantast#c th#n&s happen( It #s all a$out effect( In theatre) there #sa hero( +e #s #nterest#n& $ecause we see #n h#m someth#n& of our own human#t!) h#s "ulnera$#l#t!( he hero has a purpose) $ut h#s purpose #s thwarted $! the world #nto wh#ch he "entures( 5hen the confl#ct #s resol"ed) the heros character has chan&ed a l#ttle* he has learnt from the confl#ct( 5e ha"e followed h#m on that %ourne! from the safet! of our seats) ar#d hopefull! learnt someth#n& w#th h#m( heatre #s not a$out effect) #t #s a$out act#on* #t #s a$out cQuse and effect( Ma&#c #s mass#"el! flawed as theatre( Ma&#c can) and pro$a$l! should) somet#mes #n"ol"e "#rtuoso d#spla!s of s'#ll and "#sual %o'cs #n the same wa! 7to $orrow another analo&! from eller8 that a s!mphon#c score ma! #nclude an
#mpress#"e cadenAa for a solo #nstrument to #mpart a sh#ft #n te.ture to the p#ece( But true art #n mus' does not res#de #n those moments) howe"er necessar! the! ma! $e to the whole) he! ha"e a conte.t) and der#"e the#r "alue from $e#n& placed #n that lar&er mo"ement( he "alue of a "#rtuoso se-uence #s prec#sel! #ts relat#onsh#p to the ser#ousness of #ts mus#cal conte.t) and when that ser#ousness #s lac'#n&) art suffers( 5e ma! en%o! Normas ascent to the mouth of the "olcano and adm#re the $eE arnto f#rewor's of her charm#n& nonsense) $ut trust that Be+#n# and Bach w#ll ne"er $e ser#ousl(! compared( here #s alwa!s room for amusement and we should ensure that our role as enterta#ners #s fulf#lled) $ut there #s a ser#ousness #n true enterta#nment and #n emplo!#n& amusement to &reater dramat#c ad"anta&e( A ser#ousness) $ut not necessar#l! a solemn#t!( he performance of ma&#c #s &enerall! p#tched at an #ntellectual le"el that #s too low( Ma&#c#ans do not) as a rule) presume that the#r aud#ences are #ntell#&ent and sens#t#"e enou&h to want the ma&#c to $e challen&#n& or cathart#c( h#s #s not a health! start#n& po#nt) for #t stult#f#es ma&#c and lea"es #t too close to ch#ldrens enterta#nment( I #ma&#ne that as lon& as tr#c's are performed #n th#s wa! $! most ma&#c#ans to most aud#ences) ma&#c w#ll rema#n a craft perce#"ed as tr#"#al( P#tch#n& a performance at a h#&her #ntellectual le"el) as lon& as the ma&#c#ans sodal s'#lls are f#nel! enou&h tuned not to al#enate h#s aud#ence) can $e a s#mple wa! of ensur#n& that !our aud#ence ta'es what !ou do ser#ousl! and part#c#pates accord#n& to !our terms( It #s flatter#n& and refresh#n& to most aud#ences to $e treated w#th the presumpt#on of #ntell#&ence $! a performer( If handled correctl!) #t w#ll ma'e them pa! attent#on and ha"e a &reater respect for ma&#c and for !ou( M#nd-read#n& effects) of wh#ch I am fond) can $e amon&st the stron&est rout#nes that rne-gic can offer( fl! th#s I mean that estran&#n& mental#sm from ma&#c #s a m#sta'e) and has noth#n& to do w#th the real#t! of profess#onal performance( M#nd read#n& can) and should $e) presented uncomprom#s#n&l! and ser#ousl!) 7accord#n& to the art#sts "#s#on8 as an appl#cat#on of the same pr#nc#ples that l#e $eh#nd the ,real wor' of ma&#c( /#"#s#ons of class#f#cat#on are amateur#sh concerns) unless one #s sett#n& oneself up as a ps!ch#c( M#nd-read#n& has &reat potent#al for #nt#mate and mean#n&ful wonder) $ut &enerall! lac's the aesthet#c appeal of "#sual ma&#c( 5hen the two are fused) and made dramat#call! resonant) a "er! stron& performance tool e"ol"es( he eff#cac! of the m#nd-read#n& need not $e #mpa#red( :ou ma! feel that ma&#c is onl! a$out perform#n& some tr#c's and $rea'#n& the #ce at part#es( After all) when !ou are $oo'ed for an e"ent) the hostess #s concerned w#th pro"#d#n& l#&ht-hearted amusement( Indeed) she m#&ht $e put off $! ser#ous tal' of /rama or her ,"oluptuous s#ster( Mean#n&) and start to &a&( hen understand that I am not tal'#n& a$out perform#n& #nappropr#atel!( o #ns#st #nsens#t#"el! upon a hea"!-handed ser#ousness and to fo#D cc !our "#s#on upon the apathet#c) m#n&l#n& m#ddle-classes at these e"ents would $e as wron& as not to ha"e the "#s#on #n the f#rst place( :ou must enterta#n and enthral) and not dr#ft #nto r#s#$le pretens#on or al#enate w#th an #nsens#t#"el! handled a&enda( But !ou are the face of ma&#c when !ou perform( 9or e"er! ma&#c#an that has no real #nterest #n transport#n& h#s aud#ence w#th the warm sh#"er of real ma&#c) th#s art $ecomes more artless) #ncreas#n&l! mundane) and of less and less use to an!$od!( As #t #s) the not#on of perform#n& ser#ousl! $ecomes 7often lud#crousl!8 polar#sed #nto the a&enda of $lac'-clad $#Aarr#sts and self-st!led eccentr#c w#Aards) where #t should $e the ma#nstream thrust of our $eaut#ful craft( If th#s ser#ousness #s ta'en ser#ousl!) and #ncorporated #nto the st!le and character of the performer w#thout unnecessar! solemn#t!) and #f the performer #s sens#t#"e enou&h to e.press #t effect#"el!) then he w#ll ha"e a perfectl! commerc#al) unpretent#ous and soc#all! appropr#ate s'#ll #n h#s hands( hese are not %ust the dan&erous) su$"ers#"e an&er-tracts of a parrotD fanc#er w#th a &oatee whose onl! #ntent#ons are to shoc') d#s&ust and se.uall! arouse w#th preposterous fum#n&( hese are not o$scure or #rrele"ant #deas( Ma&#c #s performance) and performance should ha"e an honest!) a rele"ance and a resonance #f #t #s to $e offered to spectators w#thout #nsult#n& them(
he pecul#ar aspects of con%ur#n& to an aud#ence #ts prom#se of other-worldl#ness) #ts #ncorporat#on of s'#lls real and #ma&#ned that man! people en"!) and con"ersel! the $ad e.per#ence that man! people ha"e had of amateur performances $! a suspect uncle ma'e #t e"en more appropr#ate to ta'e these performance #ssues ser#ousl!(
4 4
Ma&#c and heatre Were I wr#t#n& a $oo' a$out sta&e ma&#c) theatr#cal #ssues would seem #mmed#atel! appropr#ate(
+owe"er) th#s #s not a$out the wretched) #rrele"ant do"e penetrat#on acts st#ll) un$el#e"a$l!) performed for d#sappo#nted and $ored aud#ences #n seas#de towns and con"ent#on centres across Gods $eaut#ful 3arth( No) no) no* th#s #s a $oo' a$out the performance of m! f#rst lo"e 7In actual fact) /e$$#e Boon) ;eedham Par' Pr#mar! School) 2F?G-F8) close-up and parlour ma&#c( Actuall!) for those who are astute enou&h to read $etween the l#nes and are well-"ersed #n n#neteenthcentur! erot#ca and ad"anced code s!stems) the real su$%ect matter of th#s $oo' w#ll $e a$undantl! clear( al'#n& a$out close-up ma&#c and theatre needs a l#ttle more -ual#f#cat#on) lest #t seem an unnatural pa#r#n&( After all) we th#n' of close-up ma&#c as tr#c's) as noth#n& &rand) as fun) l#&hthearted amusements( :et we are aware of the #mportance of creat#n& moments of wonder) and of #ssues re&ard#n& the en&a&ement of the aud#ence( heatre) on the other hand) seems a d#sproport#onate not#on #n compar#son* a &rand) ma&#cal fus#on of te.t) performance) cou&h#n& and same-se. un#ons( Should ma&#c $e as resonant as &ood drama@ Is #t reasona$le to e.pect a ma&#c#an to present someth#n& cathart#c or su$"ers#"e to h#s aud#ences@ +owe"er h#&h ones #deals) the fact seems to rema#n that for most of the t#me) our performances are $arel! performances at all rather #mpromptu rout#nes &#"en #n no#s! surround#n&s where #t would not seem poss#$le to create an! true sense of wonder that transcended mere tr#c'er!( Or at least that was ro! "#ew a few !ears a&o) $ut now I no lon&er $el#e"e #t( At a recent e"ent) I as'ed a fellow ma&#c#an what he would $e perform#n& around the ta$les( 6Oh) !ou 'now crap)= was h#s answer) an elo-uent presumpt#on on h#s part that w#th the pressure of ta$le num$ers and the need for effects to reset) he would not $e perform#n& an! m#racles that e"en#n&( Such) 2 am sure) #s the att#tude of man! commerc#al profess#onals( M!self #ncluded at one t#me( But s#nce then I ha"e d#sco"ered the poss#$#l#t! of art#str! #n ma&#cal performance) and feel "er! d#fferentl!( A class#c s#tuat#on* the most prosa#c) charmless surround#n&s) and as !ou stand at the $ar someone nonchalantl! sa!s) 6Go on then) show us a tr#c'(= he#r demeanour #s un#nterested) the en"#ronment #s loud and up$eat) and no part#culars of c#rcumstance are &o#n& to a#d !ou #n the creat#on of a moment of poetr!( In fact) !ou a$andon an! hope of perform#n& w#th a su$tle and resonant st!le) feel#n& the need to 'eep #n rapport w#th the mood of the e"ent( But #ma&#ne how much stron&er) how much more resonant) how much more rnagictl #t would $e) were !ou to do someth#n& utterl! anomalous to the surround#n&s) and pro"#de am#dst all the no#se and lau&hter and m#ndlessness of the part! a m#racle for th#s one man) a true moment of wonder that mesmer#sed and d#stur$ed( Ima&#ne how much more ma&#cal #t would $e) spec qica&ly $ecause of #ts d#sconnect#on from the en"#ronment( It would a$solutel! l#ft h#m out of h#mself(
4
he #ssue here #s one of control( 5hen we $e&#n as close-up ma&#c#ans( we ha"e no understand#n& that we are enter#n& the personal space of our aud#ence and ma'#n& demands of them( 5e do not see how #ll-mannered th#s could $e( Instead) we are r#&htfull! #nt#m#dated $! the
per"erse d!nam#cs of the s#tuat#on and $ecome #nsecure( h#s #nsecur#t!) more often than not) man#fests #tself #n ham-f#sted wa!s of approach#n& &roups) and an ea&erness to $lud&eon the spectators w#th ma&#c $efore the! are read!( h#s #s the act#"#t! of a performer who sees the pro$lem) and sol"es #t $! f#&urat#"el! h#d#n& $eh#nd h#s props( Cater) we &row #n conf#dence) and see that the space of our spectator &roups should $e respected( So we de"elop more natural wa!s of #ntroduc#n& oursel"es) and rather than h#d#n&) allow our personal#t#es to show( If th#s personal#t! #s pleasant) honest !et theatr#call! honed) then #t w#ll allow the &roup to feel conf#dent #n the performance) and to en%o! the e.per#ence rather than resent #t( A s'#lled performer w#ll pr#de h#mself on h#s rapport s'#lls) and h#s a$#l#t! to $lend #n w#th an! &roup) and adapt to the#r demands and preferences as a &roup( +owe"er) m! understand#n& of resonant ma&#c and #ts relat#onsh#p to theatre means that th#s more ,conf#dent sta&e #s flawed and #ncomplete( It #s wron& to focus on that a$#l#t! to adapt to an! &roup( h#s #s a worthwh#le s'#ll to ha"e) and #nf#n#tel! prefera$le to the former opt#on) $ut I would su&&est that the f#rst 'e! to powerful performance) and to creat#n& the e.per#ence of real ma&#c) #s prec#sel! that !ou ma'e !our &roup adapt to you. Now please dont m#sunderstand th#s( :ou must de"elop the a$#l#t!) #f !ou dont alread! possess #t) of ma'#n& an! &roup feel comforta$le) and learn to read the#r cues and des#res #n such a wa! that !ou can ta#lor certa#n aspects of !our performance to them( Approach#n& a &roup cold) !our f#rst tas' w#ll $e to &et them to l#'e !ou and feel comforta$le #n !our compan!( I feel that at th#s po#nt) a natural a$#l#t! w#th people #s essent#al( But once that rapport has $een esta$l#shed) and !ou ha"e &entl! come #nto the#r space w#th the respect that deser"es) #t #s now fundamental to ser#ous ma&#c that !ou re"erse the d!nam#c and ma'e the space !ours* that #t now $ecomes a ser#ous performance area) on !our terms( Onl! when !ou ha"e !our aud#ences ea&er to see what !ou w#ll do and happ! to stop what the! are do#n& and pa! attent#on accord#n& to !our rules) w#ll the foundat#ons $e la#d for ma&#c that re"er$erates w#th wonder( 5hat) after all) #s the alternat#"e@ Ma&#c) I suppose) that merel! fools( M#ss#n& from the scenar#o where the ma&#c#an tr#es to f#t #n w#th what he perce#"es the demands and preferences of h#s &roup to $e) #s an! sense of creat#n& and susta#n#n& a d!nam#c) of performer qua performer and aud#ence qua aud#ence( here #s onl! a tr#c') and no one #s e"en $e#n& told that #ts #mportant( Our fr#end at the $ar or our &roup at the ta$le e.pects l#ttle and &ets l#ttle) and ma&#c means noth#n&( #$#s controll#n& of the d!nam#c from the outset) and the mana&ement of spectator response to wh#ch #t leads) #s a fundamental not#on upon wh#ch m! #deas are $ased) and I w#ll return to them #n deta#l later( 9or now) #t #s enou&h to sa! that m! understand#n& of the role of ,theatre and of ma&#cal dramatur&! $e&#ns w#th understand#n& performance space) and an acute awareness of the d!nam#cs $etween performer and aud#ence( I am not tal'#n& a$ou(t drama that replaces ma&#c( Ma&#c #s our end &oal) and m! cons#derat#on here #s how to create ma&#c that feels real and #s as stron& as poss#$le( I $el#e"e that a certa#n dramat#c sens#$#l#t! #n the structur#n& and performance of effects #s fundamental #n ach#e"#n& th#s) $ut I am not su&&est#n& that ach#e"ement of dramat#c effect #s the &reater &oal* drama must support the ma&#c) not "#ce-"ersa( /arw#n Ort#A warns a&a#nst th#s #n h#s mar"ellous wor') 4trong :agic:
65h#le e"er! ma&#c tr#c' tells a story, it s #mportant to real#se t!at the "rime &oal of magic #s not to tell a stor! $ut to create a sensa&ion!!, Some of the ma&#c#ans and ma&#cal wr#ters most concerned w#th presentat#on ma'e the m#sta'e of th#n'#n& that the po#nt of a ma&#c
effect #s to support a dramat#c prem#se) much l#'e theatr#cal effects or f#lm spec#al effects
do((( If) howe"er) our fundamental prem#se #s correct that the un#-ue stren&th of ma&#c #s that #t &#"es the aud#ence the e.per#ence of confront#n& the #mposs#$le) #t follows that the po#nt of a dramat#c presentat#on #s to enhance the ma&#c( he ma&#c #s not there to "al#date a dramat#c prem#se) the dramat#c prem#se #s used to add #mpact to the ma&#c) to ma'e the e.per#ence of the #mposs#$le that much more powerful(= I a&ree w#th th#s) and man! of us ha"e seen rout#nes wh#ch tell an atmospher#c and dramat#c stor! to the accompan#ment of a ma&#cal rout#ne( I f#nd these presentat#ons ult#matel! -u#te al#enat#n&( As#de from m#splac#n& the focus of performance) the! rem#nd the spectator that he #s watch#n& a scr#pted m#n#ature act, as opposed to watch#n& someth#n& resonant and real( And too often) the we#&ht! stor! #s pretent#ousl! d#sproport#onate to the ,tr#c' that accompan#es #t( Stor#es are told as the focus of ma&#cal rout#nes to enterta#n ch#ldren) $ecause the performer 'nows that an enterta#n#n& stor! w#ll capture the#r #nterest more than the sh#"er of the unreal( here #s no need to cont#nue th#s w#th such o$"#ousness #nto adult ma&#c( /esp#te the con"#ct#on w#th wh#ch the stor#es ma! $e told) the! are too often al#enat#n& and wear!#n& e.curs#ons #nto self-apotheos#s on the part of the performer( +owe"er) Mr( Ort#A a$andons the #mportance of drama too earl!( 5h#le he &oes on to tal' much a$out such #ssues as suspense and character) I th#n' that the #ssue of dramat#c resonance un#f#es man! d#sparate #deas and $r#n&s much #nto focus( It leads ult#matel! to a '#nd of h#str#on#c sens#$#l#t!) throu&h the e.erc#se of wh#ch) so man! of these #ssues w#ll fall naturaHl! #nto place( he 'e! here #s someth#n& to wh#ch I shall return later* one of w#thhold#n&( he #mportance of 'eep#n& the &randeur of performance w#thheld #n such a wa! that #t #s felt rather than seen #s "#tal to &#"#n& #t su$stance( he m#sta'e made $! man! sell-st!led ,dramat#c performers who are concerned most w#th presentat#on #s that the! man#fest that dramat#c sens#$#l#t! too much #n a wa! that $ecomes ult#matel! rather daft( Man!) of course) ma! en%o! #t) $ut #t ne#ther draws an #ntell#&ent aud#ence #n) nor creates real #ntr#&ue* #t %ust presents a car#cature( hat o"erman#festat#on of sens#$#l#t! ma! occur #n character) &room#n&) or o"er-#ndul&ent scr#pt#n& of effects( he performer #s merel! portra!#n(& a two-d#mens#onal car#cature of an #ll-thou&ht-out stereot!pe( I $el#e"e that the t!pe of #ndul&ent use of drama o$%ected to $! Mr( Ort#A #s related to th#s '#nd of nonsense( he alternat#"e that I su&&est #s a h#str#on#c real#sat#on that ta'es place -u#etl! $eneath the surface) w#thheld $ut felt $! the aud#ence #n a wa! that the! would f#nd d#ff#cult to parod!( And at th#s le"el) drama #s of fundamental #mportance( In h#s The ;ork <f )rt <f The 6uture, 5a&ner wr#tes*
63"er! $ranch of art addresses the understanding onl! to the e.tent that #ts core 4 onl! the relat#on of wh#ch man or #ts der#"at#on from man can an#mate and %ust#f! the wor' of art 4 #s matur#n& towards drama. All art#st#c creat#"#t! $ecmles un#"ersall! #ntell#&#$le) wholt! understood and %ust#f#ed to the e.tent that #t passes o"er #nto drama) that #t #s #nwardl! #llum#nated $! drama(=
As lon& as we are creat#n& ma&#c and not opera) the #ssue rema#ns of how to susta#n th#s chthon#c dramat#c stratum correctl!) unpretent#ousl!) effect#"el!( In man! wa!s) that #s the su$%ect matter of th#s $oo'( It leads to two clear areas for cons#derat#on* the des#&n#n& of rout#nes w#th a sense of dramat#c structure #n m#nd) and the creat#on of a character w#th the same dramat#c sens#$#l#t! $eh#nd #t( 5hen character and performance are fused w#th a ma&#cal effect #n a cele$rat#on of
ele&ant and su$tle theatr#cal awareness) the e.per#ence of real ma&#c #s $orn( One of the #nterest#n& aspects of cons#der#n& ma&#c theor! #s that) l#'e most of the arts) theor! pursues pract#ce) rather than follows #t( he Cree' theatres $r#&htest per#od was #n the f#fth centur! BC) $ut Ar#stotles Poetics, the &rand wor' of dramat#c theor!) d#d not follow unt#l late #nto the fourth centur!( hrou&hout theatr#cal h#stor!) theor#s#n& has $een slow to follow theatr#cal output) and the &reat authors ha"e $een) #n the ma#n) reluctant to wa. theoret#cal a$out the#r wor's) as#de from a few sn#ppets of obiter dicta here and there #n occas#onal prefaces( In ma&#c performance) there #s no room for empt! theor#A#n&* unless the pr#nc#ples #n"ol"ed ha"e a real and rel#a$le effect on the spectator) the! ha"e no "alue( Ma&#c #s an ent#rel! pra&mat#c art( 5r#t#n& #n the f#ft#es) 9r#eder#ch /Urrenrnatt noted that 6#n art) an!th#n& #s poss#$le as lon& as #t wor's(= "Theatre Problems, =>?@*?2! Infus#n& ma&#c w#th the not#ons that I concern m!self w#th #n th#s $oo' has no "alue unless the! wor') and do so #n that the! e.tend the ma&#c $e!ond the e.per#ence of tr#c'er! and decept#on) wh#ch #s m! a#m( I am not cons#der#n& other performance a#ms held $! ma&#c#ans that use ma&#c to promote spec#al#sed concepts( Gospel Ma&#c) Mot#"at#onal Ma&#c) rade Show Ma&#c these th#n&s do not #nterest me w#th#n the scope of th#s $oo'( Ma&#c can certa#nl! $e used to promote a soc#o-eth#cal pro&ramme) $ut I f#nd the "er! #dea -u#te per"erse( +orace ra#sed the -uest#on of whether #nstruct#on or del#&ht should pre"a#l #n drama( In ma&#c we ha"e a "ar#et! of ,uses for our art $e!ond ma&#c #tself) wh#ch rem#nds me of the not#on of ,art therap!( he render#n& of art #nfer#or to therap! #s an #nterest#n& one* #nterest#n& #n the sense that #t ma'es me want to "om#t an&r#l!( herap! #s one poss#$le product of art* ## a wor' spea's to a trou$led #nd#"#dual #n #ts perfect#on or #nsp#res another to #mpro"e some aspect of the#r l#fe) then a &ood th#n& ma! ha"e happened) $ut art #s #nd#fferent to us) separate and concrete) thou&h $orne from "er! human pass#ons( Good art connects us w#th the #nf#n#te and prom#ses to transcend the force of human e.per#ence that has necess#tated #t( But ne#ther art) nor ma&#c as art) should $e su$ser"#ent to the del#"er! of an a&enda that e7ists independently of the performance, howe"er empower#n& that ma! $e for the aud#ence( I repeat) the aud#ence ma! experience the ma&#c as empower#n&) $ut #t #s not the role of ma&#c to promote empowerment( hat can $e left to the e.pand#n& num$er of &urus #n that f#eld( A react#on of true wonder that pecul#ar e.per#ence that #s part e.#stent#al $ut pr#mar#l! aesthet#c precludes any appreciation of moral awareucss!
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An a&enda #n ma&#c can) howe"er) e.#st that #s one w#th the performance) where the ,h#&her commun#cat#on #s the Greater 3ffect of the performer himself and $e!ond that) ma&#c as a whole( hen e"er! moment of $ew#lderment and e"er! aspect of the performance can $e ruthlessl! &eared to the promot#on of those concepts( I w#ll cons#der th#s at len&th later on) $ut for now #t #s enou&h to sa! that #n m! op#n#on) th#s should $e the a#m of ma'#n& #mpro"ements and the true a&enda of the perform#n& ma&#c#an(
In h#s essa!) Theatre ;ithout a Aonscience, the 3n&l#sh author +oward Bar'er tells the follow#n& tale wh#ch n#cel! demonstrates th#s m#sappl#cat#on of performance art*
6A drama teacher) a pac#f#st) "#s#ted me( +e told me of h#s product#on of )ntigone, #n wh#ch #nstead of a set he hun& a mass#"e map of the world on wh#ch e"er! war currentl! $e#n& fou&ht was #llum#nated $! flam#n& red l#&ht) Of course) there were tots of these) and the actors pla!ed #n the &lare of them( At the end) he flun& on the house l#&hts and dra&&ed cha#rs onto the sta&e) o$l#&#n& the aud#ence to en&a&e #n a de$ate on the soDcal2ed #ssues the product#on had ra#sed( +e therefore succeeded #n el#m#nat#n& the ent#re e.per#ence of the drama) hum#l#ated the te.t $! us#n& #t as a means to an end) a start#n& po#nt for the endless curse of de$at#n& th#n&s) wrec'ed the #n"ent#on of h#s actors) turn#n& them #nto mere d#dact#c
#nstruments) and l#-u#dated an! poss#$#l#t! #n the aud#ence that the#r structure of feel#n& and thou&ht could $e #nflamed $! what the! had w#tnessed he had reduced the non- cere$ral e"ent of a pla! #nto a pac' olar&uments(=
4
In ma'#n& th#s po#nt) I am warn#n& a&a#nst what I m#&ht call ,o"er- presentat#on) the act#"#t! of some performers who r#&htfull! w#sh to endow the#r effects w#th mean#n& $ut do so #n a m#s&u#ded fash#on( Boo's that deal w#th presentat#onal #ssues &enerall! warn a&a#nst ha"#n& noth#n& to sa! at all and no apprec#at#on of mean#n&( I want also to warn a&a#nst the dan&ers of #nappropr#ate saturat#on of mean#n&( I hope I ha"e made #t clear that to $el#e"e that a sense of drama and &ra"#tas must $e pushed r#&ht to the surface #s a m#sta'e( he approach to ma&#c that tr#"#al#ses #t w#ll lead to the d#spla! of trans#ent) amus#n& tr#c'er! or mere mastur$ator! techn#-ue( he "er! oppos#te m#sta'e #s to perform an histrionic act of self-lo"e that) ult#matel!) dr#ps onl! pretens#on(
I re#terate) the role of drama #n ma&#c #s to stren&then the feel and #mpact of real and resonant ma&#c( Somet#mes #t w#ll $e appropr#ate to perform an effect ,off the cuff) #n a downpla!ed fash#on* what one m#&ht call a wh#ms#cal act of chan&e #n the pr#mar! 7#(e( the #mmed#ate8 world) wh#ch seems to ha"e no connect#on to a deeper stratum of h#dden m!ster!( 9or e.ample) !ou ma! wal' up to a $ar) p#c' up a teaspoon ar#d cause #t to $end( And do so as #f !ou do that sort of th#n& all the t#me) w#th no sense of drama pla!ed out #n the effect( :et the dramat#c element can $e found #n the "er! carefree att#tude w#th wh#ch !ou pla! #t) and the -u#et self-awareness w#th wh#ch !ou create a state of total $ew#lderment #n the o$ser"er( In other words) there ma! st#ll e.#st cons#derat#ons of character) role and aud#ence effect #n the most 7apparentl!8 wh#ms#cal performances( /Dramat#c sens#$#l#t!) wh#ch as I ha"e sa#d should operate pr#mar#l! at a su$tle le"el) w#ll &uarantee that a supposedl! casual d#spla! st#ll has a powerful #mpact( +owe"er) #n an #deal s#tuat#on) the close-up ma&#c#an w#ll ta'e a small &roup and collect#"el! transport them #nto the e.per#ence of wonder( ;ather than an off-the-cuff demonstrat#on) he w#ll ta'e the t#me to set the scene) and ensure that the spectators are pla!#n& the#r roles properl!( he effect would $e of a m!ster#ous character us#n& h#s esoter#c talents to create a moment of real ma&#c) one that surpassed mere tr#c'er!) and mere techn#-ue( Indeed) #t would not %ust $e a case of one mans learnt s'#lls* rather he would $e a connect#on for the aud#ence to someth#n& $e!ond) someth#n& a l#ttle d#stur$#n&( If #t were real) the ma&#c would ha"e to come from a place %ust $e!ond the performer) from a place to wh#ch he ser"es as that &atewa!( h#s #s the 'e!( 5hen he cl#c's h#s f#n&ers and cards chan&e to the four aces) we 'now we ha"e e.per#enced sle#&ht of hand( ;eal ma&#c would not $e -u#te that -u#c' and eas!( ;eal ma&#c would ta'e #n"estment( ;eal ma&#c would draw !ou #n) and ma'e !ou ner"ous( M! model for understand#n& dramat#call! sound ma&#c #s as follows( he ma&#c#ans role must chan&e from a wh#ms#cal &od-f#&ure who can cl#c' h#s l#n&ers and ha"e someth#n& chan&e #n the pr#mar! world) to a hero-f#&ure who) w#th h#s s'#lls and #ntr#&u#n& character) pro"#des a l#n' w#th a secondar! world of esoter#c power( +e must arran&e c#rcumstances #n the pr#mar! world such) as the correct part#c#pat#on of h#s small aud#ence #n such a wa! that #f that precar#ous $alance #s held) a &l#mmer of ma&#c 7onl! %us# held under control for a wh#le8 w#ll sh#ne throu&h and #llum#nate the pr#mar! world w#th wonder( hat re-u#res #n"estment of t#me and ener&! from h#m and from h#s aud#ence) and #n"ol"es the o"ercom#n& of confl#ct( 5hen the rout#ne #s o"er) someth#n& has sh#fted #n the world) for $oth spectator and performer( here #s a true sense of cathars#s(
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It would $e #nappropr#ate and la$or#ous to ma'e e"er! rout#ne #n a set conform to that process) $ut #t #s someth#n& that can su$tl! wea"e #n and out of a reperto#re( I understand that th#s ma! sound hea"! stuff #ndeed for a $unch of card tr#c's( $ut $ear w#th me( Cons#der the sh#ft for the role of the ma&#c#an that #t su&&ests( o $e most dramat#call! sound) and therefore emot#onall! most powerful) the ma&#c has to mo"e out of the realm of effi.ct #nto cause and effect( Into a
realm where act#on and effort are "#tal( I am tal'#n& a$out su$tle and "#tal chan&es( I am su&&est#n& that the ma&#c#an sh#ft h#s role sl#&htl! to $e more plaus#$le and human) to ma'e h#s ma&#c resonate more( If a casual $end#n& of a teaspoon #s the "#rtuoso capr#ce of the f#rst "#ol#n) then the susta#n#n& of tens#on and resol"#n& of confl#ct #s the dr#"#n& force of the s!mphon! #n wh#ch the del#&htful fr#ll f#nds #ts conte.t( 5ell-placed #n rout#nes) the wh#ms#cal d#spla! of a$#l#t! can wor' to $u#ld or chec' the tens#on of the &reater p#ece( A&a#n I re#terate) these are pr#nc#ples to $e subtly appl#ed) and are to ha"e the a#m not of creat#n& &reat drama) $ut of #n"ol"#n& the emot#ons of !our aud#ence at a &reater le"el and pro"#d#n& them w#th an e.per#ence that feels real) Not e"er! tr#c' #n a rout#ne need follow th#s) for the need to pro"#de an enterta#n#n& set w#ll mean that !ou must sh#ft to d#fferent modes) ar#d to a com#c rh!thm of sorts to pro"#de someth#n& wholl! sat#sf!#n( But #f !our a#m #s pr#mar#l! to pro"#de stron& ma&#c rather than %ust $e a %oll! enterta#ner) then an ult#mate fundamental ser#ousness and plaus#$#l#t! w#ll $e of &reat # II# portance to !ou( A concrete e.ample from m! reperto#re seems worthwh#le at th#s po#nt) #n order to #llustrate how these rather lar&e #deas ma! $e #ncorporated #nto a rout#ne to sh#ft #t sl#&htl! #nto someth#n& that has) I hope) a &enu#nel! ma&#cal effect) as opposed to one of tr#c'e "( Man! ma&#c#ans) m!self #ncluded at one t#me) perform the ,9loat#n& B#ll( #t #s a $eaut#ful tr#c') and has all the necessar! components of a stron& and memora$le effect( But the effect that rema#ns after the tr#c' #s o"er #s 6+ow d#d he do that@ 5as there str#n&@ I couldnt see an!(((= and so on( Cets e.am#ne th#s( 5hen a ma&#c#an floats a $#ll) he #s pla!#n& a &od-f#&ure who can snap h#s f#n&ers and ma'e mar"els happen( An! aud#ence mem$er o"er the a&e of s#. 'nows that he cant really do that( he! 'now #ts a tr#c') al$e#t a "er! &ood one) and #t doesnt reall! pretend to $e an! more than that( +owe"er con"#nc#n&l! #t #s performed) a stra#&htforward presentat#on of th#s effect w#ll not mo"e the spectators $e!ond the e.per#ence of see#n& a &ood tr#c') and not 'now#n& how #t was done(
Now) let us ta'e the potent#al offered $! such a &reat tr#c' and sh#ft the ma&#c#ans role e"er so sl#&htl! so that he #s no lon&er a &od $ut a hero( Cet us ma'e h#m an #ntr#&u#n& personal#t! who offers a connect#on to a secondar! world of wonder) wh#ch w#ll sh#ne throu&h momentar#l! #f c#rcumstances are arran&ed correctl! here #n the world wh#ch we e.per#ence( Cet us ma'e th#s tr#c' ha"e real mean#n& for the spectator) and let us &#"e them a l#ttle cathart#c %ourne! w#th #t that w#ll not re"ol"e around the mundane -uest#on of ,+ow d#d he do that@ I remem$er see#n& err! Cunceford float a r#n& on a "#deo) and #t seemed a much more charm#n& #dea than $orrow#n& someth#n& as #mpersonal as a $an'note( So m! f#rst thou&ht was to use a r#n&) $ut the #ssue rema#ned of how to #n"o'e a real emot#onal response and to ma'e m! role warmer and more human than the #mplaus#$le nerd-&od that man! ma&#c#ans portra!( +ere #s m! rout#ne mean#n& and ma&#c #nsp#red $! Mr( Cuncelords "#deo>
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I s#t ne.t to a lad!) ha"#n& o$ta#ned her trust and #ntr#&ue w#th preced#n& effects and m! &eneral demeanour( I m#&ht ta'e her hand) and as' her #f an! of her r#n&s ha"e part#cular and pleasant memor#es attached to them( After she has po#nted one out) I tell her) unless #t #s o$"#ousl! a wedd(#n& r#n&) to rema#n -u#et a$out the memor! #n -uest#on) as #t #s none of m! $us#ness what #t m#&ht $e( hen I as' her #f I m#&ht $orrow #t for a m#nute or so(
As I ta'e the r#n&) I load #t onto the thread that #s anchored to m! wallet 7or some such personal #tem that would be rude for anyone else to touch2 on the ta$le( 9or load#n& deta#ls) see the "#deo ment#oned* I want to descr#$e the presentat#on here) not dwell on matters of handl#n&( Suff#ce #t to sa! that the r#n& can $e pluc'ed from the a#r at the end of the rout#ne w#thout need#n& to $rea' the thread( As the loaded r#n& #s placed on the palm of m! r#&ht hand) I ta'e her hand #n m! left and sa!) ,Dld l#'e !ou to th#n' $ac' for me to that memor! that pleasant memor!) And to help !ou &et $ac' #nto the feel#n& for me) I want !ou to ta'e whate"er !ou saw at the t#me as !ou see #t now) and e.pand the p#cture(() $r#&hten #t) enr#ch the colour(() thats r#&ht) and add some s p a r ' 2 e ((thats e.cellent) so that !ou can reall! feel that &ood feel#n& #ns#de of !ou now l#'e a wh#te l#&ht(= As 2 sa! th#s) I ensure that she reall! does &et $ac' #nto the feel#n&) wh#ch she w#ll( 3"er!th#n& a$out m! "er$al and non-"er$al commun#cat#on #s tell#n& her to ta'e th#s ser#ousl!( Because #t #s a l#ttle we#rd) suspense and #nterest $u#lds up #n the &roup(
4 (
I cont#nue( 6See that wh#te l#&ht #ns#de !ou l#'e a sw#rl#n& "orte. of &ood feel#n&( ;eall! &et #nto th#s( Now) 'eep !our e!es on the r#n&( As !ou focus) see that l#&ht sw#rl#n& #n !our m#nds e!e( Now ma'e that l#&ht mo"e slowl! #ns#de !ou) start to &row and spread( Keep loo'#n& at the r#n&( Ma'e the l#&ht mo"e( Ma'e #t= suddenl! the r#n& tw#tches ,mo"e(= hat tw#tch #s small $ut clear) and the &roup w#ll come #n closer(
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6No) dont $e d#stracted( Keep !our e!e on the r#n& $ut see the l#&ht sh#ft#n& too( Ma'e the feel#n& spread and mo"e) thats r#&ht dont $e d#stracted $! the r#n&) 'eep !our m#nd on the feel#n& spread#n&) mo"#n&(((= As I descr#$e th#s) I let the r#n& tw#tch a l#ttle more) then start to sl#de around a l#ttle on m! hand #n a "er! eer#e wa!( Of course) #f she has reall! #n"ol"ed herself #n the proceed#n&s) the mo"ement of the r#n& w#ll start to control her e.per#ence of the feel#n&) and as #t mo"es more freel!) so she w#ll e.per#ence the spread#n& of the feel#n& accord#n&l!( I am st#ll onl! allow#n& the r#n& to mo"e #n a small area of m! hand) so that when the moment #s most tense) I can sa!* 6:ou see) I want !ou to understand what people mean when the! tal' a$out the#r heart soar#n&) or the#r sp#r#ts l#ft#n& and suddenl!) $eaut#full!) ele&antl!) the r#n& floats r#&ht up #n the a#r a$o"e m! hand( It ho"ers as I sa!) 6And I want !ou to 'now that !ou can completely c#rcle and
4
surround that feel#n& tD circle the ring with 'ny fingers in a decepti e mo e gi en on the tape< w#th the 'nowled&e that !ou can %ust pluc' #t out of the a#r an! t#me !ou need #t B( remo e itfrrnn the airC and 'eep hold of #t for the rest of !our l#fe Band hand it back1! he react#on to th#s effect #s ten t#mes more powerful than that w#th wh#ch the ,9loat#n& B#ll met( here #s &enu#ne tens#on at the start) aud#$le &asps at the f#rst t#n! mo"ements) and then the most $eaut#ful) s#lent swell of emot#on as the r#n& suddenl! l#fts( 5hen I c#rcle the r#n& w#th m! f#n&ers) a few people start applaud#n&) or ma'#n& the#r enthus#asm 'nown) wh#le others loo' dum$struc'( +and#n& #t $ac' w#th the warm messa&e of $e#n& a$le to recreate th#s &ood feel#n& nearl! alwa!s results #n the lad! clasp#n& m! hand t#&htl! and sa!#n& , han' :ou( hat #s the most reward#n& react#on I could e"er hope for from ma&#c( A heartfelt word of &rat#tude* an ac'nowled&ement that she had $een transported $! wonder( Once after perform#n& th#s) a chap sa#d pr#"atel! to me that #t was ,the most lo"el! th#n& he had e"er seen( On other occas#ons) r#d#culous as #t ma! sound #n pr#nt) the rou t#ne has e"o'ed tears from the part#c#pant happ! ones) I m#&ht add( 7On one occas#on where the lad! d#d not ha"e a r#n& and the performance was pr#"atel! #n m! own home) I had her secretl! wr#te down a word on a sl#p of paper) wh#ch would e"o'e a happ! memor! for her( he sl#p was placed #n m! hand) and the rout#ne was com$#ned w#th what $ecame an accu rate descr#pt#on from me of the ent#re memor!) and when the paper l#fted at the end the poor th#n& $urst #nto floods of %o!ous tears( Perhaps a llttle #nappropr#ate for ta$le-hopp#n&) $ut e"#dence of how much more #mpactful ma&#c can $e made when sens#t#"el! handled(8
4
he -uest#on of how the r#n& floated #s ne#ther here nor there( here #s a warmth and a $eaut! to the effect) I hope) that means more than that $anal -uest#on of method( he emot#onal response
#s &reater than the #ntellectual one) wh#ch means that when the! th#n' $ac' to the tr#c') the#r m#nds w#ll $e seduced $! the warm messa&e of the effect and that emot#onal react#on) and #t w#ll $e an enormous effort to cons#der #t coldl! #n terms of handl#n&( Now) let us loo' at th#s #n terms of #ts dramat#c resonance) for that #s the 'e! to #ts success) 9#rstl!) I could ta'e the r#n& and ha"e #t r#se at m! command( hen I would $ecome the #mplaus#$le #mpostor a&a#n( So m! f#rst tas' #s to sh#ft m! role( In th#s effect) I am not pla!#n& the omn#sc#ent character of the B#ll 9loater) $ut rather someone who w#ll ta'e her l#terall! $! the hand and show her how to connect w#th a ma&#cal realm separate from $oth of us( hat #s the ma%or sh#ft that ma'es th#s rout#ne so effect#"e( I am not sa!#n& ,Coo' at me I can do th#sl) and therefore not #n"#t#n& an! c!n#c#sm(
4
Secondl!) I create confl#ct and tens#on( I do th#s $! #ns#st#n& that she not $e d#stracted $! the r#n&* and $! &#"#n& her "ar#ous #ma&es and #deas to %u&&le( h#s w#ll #n"ol"e effort on her part) and "#car#ousl! from the rest of the &roup( She #s #n"est#n& emot#onal effort) and tr!#n& to susta#n a precar#ous $alance( 5hen that $alance #s held) someth#n& ma&#cal &l#mmers throu&h( M! tas' as the ma&#c#an #s to help her ma#nta#n that) so that the moment occurs( he tens#on #s controlled) and as #t mo"es to a crescendo) the attent#on of the &roup has $een focussed #nto a t#n! space) and the! ha"e $ecome ph!s#olo&#call! &eared to perce#"e and e.pect "er! small mo"ements( hus) at the pea' moment) the r#n& r#ses and $lows awa! the#r rap#d #ntellectual#s#n& and lea"es them w#th an ent#rel! non-cere$ral e"ent( h#rdl!) there #s cause and effect here) unl#'e #n the class#c ma&#c parad#&m of mere effect( But the cause #s of a ma&#cal nature* #t #s not spelt out( Part of the del#&ht of th#s effect for the aud#ence #s e.per#enc#n& the mo"ement of the r#n& as a metaphor) and understand#n& that( As the! ma'e the connect#on $etween the mo"ement of the feel#n& #n the $od! of the spectator and the mo"ement of the r#n&) without ha ing it e7plained, there #s a resonance felt( h#s #s -u#te the oppos#te of the normal techn#-ue of patron#s#n& the spectators w#th dreamt-up) crow$arred-#n e.planat#ons of wh! the red and $lac' cards are separat#n& or the 'not on the rope #s a$le to sl#de around( So here I do not tal' a$out ps!cho'#nes#s) or ener&! tra"ell#n& alon& her arm and throu&h m#ne( I %ust let the effect spea' for #tself) and allow the spectators to f#nd the ma&#cal and emot#onal cause for themsel"es( I ha"e loosel! structured th#s $oo' around the model of ma&#c 2 ha"e #n m#nd( 5e ha"e $e&un w#th sett#n& out our a#ms) #n the same wa! the ma&#c#an or hero sets out w#th a certa#n &oal #n m#nd( In the second part we w#ll loo' at areas of confl#ct and pract#cal#t#es that he must deal w#th #n order to ach#e"e that &oal) and we w#ll f#n#sh #n the th#rd $! draw#n& conclus#ons and end#n& that %ourne! hopefull!) l#'e our hero) w#th a new le"el of understand#n& and percept#on(
4
9rom Peter Broo's The Empty 4pace: 65hen a performance #s o"er) what rema#ns@ 9un caID $e for&otten) $ut powerful emot#on also d#sappears and &ood ar&uments lose the#r thread( 5hen emot#on and ar&ument are harnessed to a w#sh from the aud#ence to see more clearl! #nto #tself4 then someth#n& #n the m#nd $urns( he e"ent scorches onto the memor! an outl#ne) a taste) a trace) a smell a p#cture( It #s the pla!s central #ma&e that rema#ns) #ts s#lhouette) and ## the elements are h#&hl! $lended th#s s#lhouette w#ll $e #ts mean#n&) th#s shape w#ll $e the essence what #t has to sa!( 5hen !ears later I th#n' of a str#'#n& theatr#cal e.per#ence I f#nd a 'ernel en&ra"ed #n m!
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memor!* two tramps under a tree) an old woman dra&&#n& a cart) a ser&eant danc#n&) three people on a sofa #n hell 4 or occas#onall! a trace deeper than an! #ma&er!( I ha"ent a hope of remem$er#n& the mean#n&s prec#sel!) $ut from the 'ernel I can reconstruct a set of mean#n&s( hen a
purpose w#ll ha"e $een ser"ed( A few hours could amend m! th#n'#n& for l#fe( h#s #s almost $ut not -u#te #mposs#$le to ach#e"e(=
6Aston#shment #s not an emot#on 7hats created( Its an e.#st#n& state thats re"ealed(= 6 he e.per#ence of aston#shment #s the e.per#ence of a clear) pr#mal state of m#nd that the! assoc#ate w#th a ch#lds state of m#nd= 6At that moment of tr!#n& to $o. the un$o.a$le !our world-"#ew $rea's up- he $o.es are &one( And whats left@ S#mpl! what was alwa!s there( :our natural state of m#nd( hats the moment of aston#shment(=
hose l#nes are ta'en from Paul +arr#s #ntroduct#on to h#s The )rt of )stonishment, and &#"e a clear and "er! #nterest#n& model of understand#n& what the e.per#ence of ma&#c m#&ht $e( +owe"er) th#s #dea that aston#shment #s also our pr#mal state of m#nd seems a l#ttle too con"en#ent for us as nta&#c#ar#s( It #s dan&erousl! flatter#n& to oursel"es to $el#e"e that we are putt#n& people #n touch w#th someth#n& pr#mal and perfect throu&h the "er! act of perform#n& ma&#c( he pro$lem #s the temptat#on to theor#Ae and un#f! a pract#ce that #s #n #ts nature ent#rel! pra&mat#c and opportun#st#c( One should certa#nl! ha"e a clear sense of what one w#shes to ach#e"e w#th ones ma&#c) $ut at the same t#me when one #s deal#n& w#th a craft) and occas#onall! an art) that #s #n #tself a $eaut#ful demonstrat#on of how m#slead#n& our models of the world can $e) one must $e war! of o$%ect#f!#n& that "#s#on and m#sta'#n& #t for real#t!(
As far as an! statements can $e made) I th#n' that the s#tuat#on #s as follows(
he e.per#ence of ma&#c #s not a un#"ersal> #t #s a d#rect result of the commun#cat#ons &#"en $! the #nd#"#dual performer( hese commun#cat#ons ma! $e #ntent#onal or otherw#se( 9or e.ample) #f an #rr#tat#n& ma&#c#an #ns#sts on perform#n& for a spectator and the latter rema#ns anno!ed) then that spectators e.per#ence of ma&#c w#ll $e annoyance! Not a wonderful l#n' to a pr#mal) ch#ld-l#'e state of m#nd( he e.per#ence of ma&#c ma! $e no more than the poss#$l! -u#te mundane response of an #nd#"#dual spectator at an! one t#me) for the ma&#c does not happen an!where other than #n her percept#ons at a part#cular moment( o #ns#st that ma&#c #s somehow important and #nherentl! cathart#c when one #s not ma'#n& #t so #s nonsense( Ma&#c #s not #nherentl! an!th#n&( It #s what !ou sell #t as( 9a#lure to understand th#s can lead onl! to m#s&u#ded pretens#on on the one hand as well as tr#"#al#s#n& our art on the other( An! ma&#c#an who sa!s what ma&#c ,does #n a &rand wa! #s e.press#n& h#s "#s#on) wh#ch he hopefull! commun#cates #n h#s performance( +#s words ha"e the same we#&ht as those of the performer that #ns#sts that #t #s a "eh#cle for ,ha"#n& a $#t of fun and no
more( 3ach #s e.press#n& h#s "#s#on) and each #f he performs true to h#s "#s#on) w#l# ma'e #t true( Ne#ther #s correct) and $oth are( h#s #s due to the un#-ue nature of ma&#c) #n that #t only happens #n the m#nds of a spectator( If that spectator does not perce#"e the ma&#c) #t does not happen( 3"en #f !ou are pla!#n& the part of that spectator) when !ou pract#se alone) that role has $een f#lled( Accept#n& th#s) #t #s dan&erous to #ns#st that ma&#c has an! inherent -ual#t#es( In understand#n& th#s) the #ssue then $ecomes one of creat#n& an e.per#ence for the aud#ence( Ima&#ne for %ust a second that !ou were to put th#s $oo' down #n order to pour !ourself a steam#n& cup of 3arl Gre! or chat to one of !our del#&htful fr#ends) onl! to f#nd th#s handsome "olume &one when !ou turned $ac' to retr#e"e #t( :ou e.per#ence would $e one of $ew#lderment) rap#dl! followed $! $ac'trac'#n& throu&h !our remem$ered e.per#ence to f#nd out what !ou must ha"e done to m#splace the $oo'( :ou would $e dou$tless "er! confused) and would start hunt#n& for #t around the place where !ou sat( :ou would mo"e pos#t#on to &a#n a more comprehens#"e perspect#"e on a confound#n& s#tuat#on( h#s e.per#ence #s not part#cularl! ch#ld-l#'e) ne#ther #s #t ma&#cal( It #s one of $ew#lderment) and of rap#d rat#onal#s#n& to f#nd poss#$le lacunae #n !our understand#n&( :ou are ea&er to &rasp a solut#on) and to rel#e"e !our m#nd $! ass#&n#n& mean#n& to the e.per#ence( II ma&#c were to $e performed w#thout an! mean#n& attached to #t) I #ma&#ne the end result would $e someth#n& s#m#lar( +owe"er) the moment a spectator real#ses h#s role as w#tnessJaud#ence to a performance $! a ma&#c#an) much mean#n& has alread! $een ascr#$ed to the s#tuat#on( he spectator 'nows that he #s not to ta'e #t too ser#ousl!) and that he #s $e#n& fooled for the purposes of h#s enterta#nment( he common e.per#ences we ha"e of th#n&s seem#n&l! d#sappear#n& and s#m#lar confus#ons are pro$a$l! close to what ma&#c would feel l#'e #f we were offered no clues) conte.t or mean#n&( In such a s#tuat#on) we see that we would run throu&h a rap#d #nternal real#t! chec' that would cont#nue unt#l a solut#on was offered or we s#mpl! &a"e up worr!#n& ar#d d#sm#ssed the confus#on w#th a lau&h( he d#fference $etween th#s sort of $ew#lderment and the e.per#ence of ,aston#shment that ma&#c should produce #n one wa! or another) #s the fact that #n the latter case) the $ew#lderment #s &#"en a set of references and a conte.t #n wh#ch #t operates) so that the spectator #s &#"en the opt#on of f#nd#n& the $ew#lderment sat#sf!#n&) and see#n& "alue #n #t( he more resonant the ma&#c) the more sat#sf!#n& #t w#ll $e) unless the #ntent#on of the ma&#c#an #s purposefull! to d#ssat#sf! for deeper aesthet#c reasons( hus ma&#c has no pure form* #n a pure form #t #s merel! confus#on) not ma&#c at all( It $ecomes ma&#c when the performer &#"es #t shape #n the m#nd of h#s aud#ence( +e ma! $el#e"e #t to $e a$out ach#e"#n& a ch#ld-l#'e state of wonder or some such not#on) $ut th#s #s %ust h#s cho#ce of shape) and #f he does not del#"er the &oods #n performance) then he #s delud#n& h#msel#m( Ma&#c) therefore) #s onl! inherently a$out how the performer dec#des to frame #t( $eha"#oural #ssue re&ard#n& the performer) r#ot an #dent#t! #ssue re&ard#n& the mater#al( h#s #s a
+ow !ou dec#de to frame !our ma&#c) whether or not !ou f#nd !ourself respond#n& to the frame I &#"e #t) w#ll $e #rrele"ant for all the same reasons unless !ou can effect#"el! commun#cate that fram#n& to !our aud#ence( If !ou dont commun#cate #t) #t doesnt e.#st) and youre not doEng what !c># think youre doing!
4 4
)scribing :eaning in the Place of Aon1iesion: Determining the $ision! he f#rst tas' of the effect#"e performer #s to dec#de upon what mean#n& h#s ma&#c should ha"e( And then) to $e true to th#s "#s#on) he should delude h#mself #nto $el#e"#n& that "#s#on to $e
a$solutel! true( If that "#s#on #s one of ma&#c as a l#&ht-hearted $lend of comed! and puAAl#n& tr#c's) then so $e #t( If #t #s one of a dar' and d#stur$#n& art-form) then so $e that too( here can $e no short-cut to ach#e"#n& an art#st#c "#s#on of an! sort) unless one $orrows from another art#st( h#s) of course) does not ach#e"e the &oal of arr#"#n& at a "#s#on that w#ll def#ne the art#st) althou&h #t ma! allow h#m to adopt a st!le) and feel second-$est( 9rom m! own e.per#ence) the &row#n& ma&#c#an starts off prett! much w#thout an! d#scern#$le st!le) del#&ht#n& #n pac'et tr#c's and $ad cloth#n&( If he comes to adopt a st!le) #t #s of a &ener#c) fast- tal'#n&) "a&uel! hum#l#at#n& and $ounc! ma&#c-man( he ma&#c#an) when as'ed to perform a tr#c') w#ll sh#ft from $e#n& a perfectl! pleasant) sweet !oun& man #nto Mr( C#&ht 3nterta#nment) de"elop#n& suddenl! e.a&&erated $od!-mo"ements and) #n 3n&land at least) traces of a re&#onal accent that #s not h#s own( +e w#ll sa! words that are o$"#ousl! ,l#nes) people w#ll reco&n#se h#s ,patter as $e#n& such) and an! connect#on to the person the! 'new and l#'ed onl! moments $efore w#ll $e se"ered the moment the card $o. #s opened( An! e.per#ence of real ma&#c #s lost $efore the &ame starts( hen) throu&h a ser#es of e"ents that rad#call! alter h#s approach to performance) as well as throu&h t#me and cons#derat#on) that ma&#c#an w#ll hopefull! come to settle #nto h#s performance( Instead of commun#cat#n& tens#on and we#rdness) he w#ll resonate complete con&ru#t! w#th h#s perform#n& persona( he mater#al he performs w#ll reflect that persona) and the con&ru#t! w#ll e.pand further( As that happens) the aud#ence w#ll sense real profess#onal#sm) and also feel utterl! conf#dent #n h#s hands( I am descr#$#n& an #deal path for the &row#n& performer) $ut we are all aware of the almost tan&#$le d#fference $etween a comforta$le profess#onal performance and an uncomforta$le amateur#sh one( he former w#ll control a room) the latter w#ll suc' all ener&! from #t l#'e an e.tractor fan( he ho$$!#st perform#n& for h#s local clu$ #s not e.pected to f#ll the clu$house w#th a well-honed presence( But an! ma&#c#an wor'#n& profess#onall! who should know better has no $us#ness #nsult#n& an aud#ence) espec#all! one tr!#n& to eat) w#th su$-standard performance( 9ew th#n&s anno! me more than pa!#n& to watch $ad) self-#ndul&ent performance) let alone ha"#n& #t thrust upon me wh#le I am en%o!#n& a meal w#th m! few rema#n#n& fr#ends( Clearl! we all ha"e to start somewhere) wh#ch #s wh! I emphas#se that I am cr#t#c#s#n& those performers who should know better! 5e watch a f#rst-t#me stand-up comed#an d#e at the open m#'e and cr#n&e #n em$arrassment and hope that he w#ll &o awa! and chan&e h#s mater#al) $ut we dont resent h#m for #t 7as lon& as he refra#ns from $lam#n& the aud#ence for not $e#n& respons#"e8( But when a more esta$l#shed comed#an who #s wor'#n& the c#rcu#t stands $efore us and #s $latantl! unfunn! from $e&#nn#n& to end) we ha"e reason to feel #nsulted( If a reasona$l! seasoned performer cannot see that h#s aud#ences are not respond#n&) then he must re-th#n' h#s mater#al) not force #t on further aud#ences( ) performer ma! $e so enamoured w#th h#mself that he #s $l#nd to aud#ence apath! or #rr#tat#on) $ut that #s not a pleasant th#n& to watch( <esus) let #t &o( a'e a ch#ll p#ll(
he ma&#c#an who does control a room and r#chl! sat#sf! h#s aud#ence w#ll ha"e a "#s#on of what he feels h#s ma&#c to $e( hat "#s#on w#ll ha"e ar#sen out of !ears of def#n#n& h#s performance and the de"elopment of a st!le( he "#s#on w#ll propel the ma&#c and &#"e #t mean#n&) wh#le the st!le #s the natural e.press#on of that "#s#on) If the ma&#c#an comes to feel that ma&#c #s a$out the creat#on of a part#cular feel#n&) then e"er!th#n& #n h#s $e#n& w#ll po#nt towards and encoura&e that feel#n&( And the D"#s#on w#ll $e %ust that the ma&#c#an w#ll ha"e #n h#s m#nd a clear #ma&(e of #deal#sed ma&#c performance) and w#ll str#"e to ach#e"e that( +e w#ll 'now when he has fa#led and sold
h#mself short) and the hum#l#at#on st#n&s for a lon& t#me( But he w#ll also 'now when he has touched that #deal) and created e.actl! what he feels ma&#c should $e( M! own "#s#on and the one w#th wh#ch th#s $oo' deals #s one of ma&#c that feels real) and ult#matel! ser#ous 7thou&h not necessar#l! solemn8( h# close-up -uarters #t su&&ests a ma&#c wh#ch #s charm#n& and &entle #n tone) $ut de"astat#n& #n content( On sta&e or tele"#s#on I can afford to $e more openl! d#stur$#n&) $ut when I am #n"#ted #nto the space of a few spectators) I must respect that( It #s a "#s#on of ma&#c that enthrals and emot#onall! touches rather than %ust enterta#ns) althou&h #t also encompasses a "ar#et! of l#&ht-headed amusements too) for I am pa#d to enterta#n( It #s also "er! much $ased around characterJe&o #ssues* #t #s not a soc#al "#s#on) or one that conta#ns a messa&e that perta#ns to an!th#n& other than the performance( he message of the performance #s the performance #tself( It #s a$out a comm#n&l#n& of character and mater#al that #s deepl! affect#n&) and wh#ch w#ll transport the spectators for a wh#le to a ma&#cal plane) throu&h del# emot#onal #n"ol"ement( I dont m#nd #f the! 'now #ts all #llus#on) $ut I would l#'e them to feel that that #s not the po#nt( And f#nall!) I would l#'e them to attach all those feel#n&s $ac' to me as a performer) so that I create a certa#n le"el of #ntr#&ue a$out m!self #n theft e!es and to wal' awa! from the performance loo'#n& at the world w#th a w#der perspect#"e(
4 4 4
In m! m#nd these th#n&s form a p#cture a l#teral "#s#on and I can do e"er!th#n& to ensure that the real#t! of the s#tuat#on &ets as close to that p#cture as poss#$le( 9ew w#ll share m! "#s#on e.actl! as I see #t) $ut I a$solutel! ha"e to $el#e"e that #t #s the wa! of perform#n& tra&#c wh#le ma'#n& sure that #t does #ndeed pro"#de the response I e.pect #t to( It #s po#ntless presum#n& that the float#n& r#n& effect that I ha"e descr#$ed #s $etter %ust $ecause #t conforms to m! pr#nc#ples* #t must then &et the response I w#sh #t to) otherw#se I am delud#n& m!self he #mportant po#nt #s not so much the #nd#"#dual asp#rat#ons of the performer) $ut whether the! ma'e for $etter ma&#c) and whether he can con&ruentl! perform #n a wa! that atta#ns them(
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As for how one arr#"es at such an #ma&#nar! p#cture of how ma&#c performance should $e8 the process w#ll $e&#n) usuall!) ne&at#"el!( One normall! dec#des f#rst what one does not w#sh to do( I real#sed earl! on that I would not feel comforta$le perform#n& rope ma&#c) ne#ther would I $e ent#rel! happ! w#th co#ns) and ne"er would I $e a home to Mr( and Mrs( Spon&e Ball( he f#rst tas' #s to -uest#on what the reasons for ones preferences ma! then $e* #f not th#s mater#al or these props) then what@ And wh!@ And as one $e&#ns to form a sense of ones preferred mater#al) a feel#n& for what one would most l#'e to ach#e"e #n performance starts to form( Another -uest#on here would $e what e7actly do % want my audience to feel has occurred, and
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what do % want them w think of me. 9or ma&#c#ans who do not 'eep th#s -uest#on #n m#nd as the! des#&n and perform mater#al) no clear answers w#ll de"elop( he ma&#c#an w#ll %ust do the tr#c' as $est as he can) and then mo"e to another one( If pressed) he w#lt sa! that the aud#ence should feel amaAed and amused $! h#s s'#ll( h#s $r#n&s us $ac' to the analo&! of the "#ol#n cadenAa #n the s!mphon!( Apprec#at#on of s'#ll can enhance the ma&#c) #f #t happens w#th#n a certa#n conte.t( Or return#n& to our hero metaphor) we need to apprec#ate as an aud#ence that the hero #s e-u#pped w#th certa#n s'#lls that ma'e h#m #ntr#&u#n& #n some wa!( If the aud#ence understands that we ha"e the deftness of response) en"#a$le ph!s#cal de.ter#t! and a$#l#t! ps!cholo&#call! to man#pulate that the! en%o! $e#n& part of) then our character #s def#ned as someone worth watch#n& and root#n& for( If we then ta'e the aud#ence to a po#nt of cr#s#s) where #n order to ma'e the sh#mmer#n& po#nt of ma&#c occur we must #n"est effort #nto resol"#n& a confl#ct) then the#r understand#n& of our #ntr#&u#n& s'#lls w#ll onl! enhance the drama( he oppos#te "#ew of th#s #s to sa! that such th#n&s as card flour#shes ha"e no place #n ma&#c) for d#spla!s of s'#ll are not compat#$le w#th ma&#c $e#n& real and #ndependent of the performers techn#-ue( But th#s #s a flawed ar&ument( o pretend that we are not ut#l#s#n& s'#ll #s daft and patron#s#n&) and to d#spla! #t to %ust the r#&ht de&ree to def#ne our characters 7or #n
another wa!) to &a#n cred#$ff#t! earl! on8) ma'es for more resonant relat#ons w#th the aud#ence( he ma&#c#an who does as' h#mself the -uest#on of e.actl! what response does he w#sh h#s performance to el#c#t from the &roup and cont#nues to ref#ne h#s answers w#ll perform #n a wa! that #s $orne from an apprec#at#on of the spectators e.per#ence of an art-form( In that he real#ses that ma&#c #s all a$out the e.per#ence of the spectator and #s as far remo"ed from techn#-ue and sle#&ht-of-hand as mus#c #s from f#n&er#n& notat#on on a score) he w#ll $e set #n the d#rect#on of eff#c#entl! creat#n& powerful ma&#c) #f he has the s'#lls and sens#t#"#t#es of a composer of ma&#c to $ac' up h#s #ntent(
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In form#n& the "#s#on) #t #s also "#tal to ensure that #t de"elops from the r#&ht perspect#"e( As !ou th#n' a$out !our performance) and allow that "#s#on to form) #t #s #mportant to note that the mental #ma&e #s of you pelfonnh=g for a group #n whate"er surround#n&s( If when !ou th#n' of performance) !ou see what !ou would see out of !our own e!es) then !ou are see#n& what !ou do from the wron& perspect#"e( :ou must $e sure that !ou iew yourself when !ou th#n' a$out what !ou do( Partl! from the perspect#"e of the aud#ence) and a(' from the perspecti e of an imaginary third party, so that !ou can see the #nteract#on and d!nam#c $etween !ou and the spectators clearl!( If !ou are not used to th#s) then #t w#ll ta'e !ou $! surpr#se( See#n& e"er!th#n& a$out !ourself !our loo's) !our dress) !our manner and $od!4lan&ua&e) the effects !ou perform all from the perspect#"e of how thei' actually come across rather than how they feel to you #s "#tal as a performer( A performer who cannot "#ew or cr#t#c#se h#mself from these e.ternal perspect#"es pro$a$l! has no $us#ness perform#n& profess#onall!(
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As I ha"e sa#d( I dont $el#e"e that there are an! shortcuts for arr#"#n& at a "#s#on of how !our ma&#c must $e( Indeed) #t would ma'e no sense for there to $e one) for the "#s#on w#ll chan&e as !ou &row) e.pand#n& and de"elop#n& !our #deas( But I th#n' #t to $e the case that ha"#n& saute #dea of what !ou $el#e"e ma&#c to $e a$out #s #mportant at an! sta&e( h#s $oo' #s a$out what I ha"e currentl! dec#ded ma&#c means to me) wh#ch I must treat as #f #t were a$solutel! what ma&#c is! But alon& the wa! I must rem#nd !ou that these th#n&s are merel! m! op#n#on and far from fact for) as we ha"e d#scussed) ma&#c #s not #nherentl! anything! So #f !ou do not a&ree w#th m! "#s#on) I hope that means that !ou ha"e formed one for !ourself(
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thou&h wh! we called h#m ,9ondl! I now for&et f#nd#n& the 5#c'ed 5#tch of the 5est a$solutel! terr#f!#n&( oda!) of course) a mass#"e &a! #con) she would lurch around w#th her &reen face and #nsane lau&h #n a manner that had me clutch#n& m! t#n! $o!&en#tals w#th fore$od#n&(
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Nowada!s I dont f#nd her part#cularl! scar!( As an adult) other th#n&s fr#&hten me( Sp#ders the s#Ae of m! $athroom s-uatt#n& #n the s#n') m! own mothers se.ual ad"ances these th#n&s cause upset and trep#dat#on to me as a nearl!-th#rt!-!ear-old( As adults) we de"elop a sens#t#"#t! to f#nesse and su$tlet!) and f#nd the #mpl#cat#on of horror #n a plaus#$le and e"er!da! mould far more terr#f!#n& than a woman w#th a po#nt! hat and a !east #nfect#on( 5e respond more to +op'#ns deft portra!al of the mesmer#s#n& ps!chopath#c cann#$al +ann#$al Cecter( he more he w#thholds the prom#se of dan&er $eneath a charm#n& "eneer) the more we feel #t( Compare +ann#$al Cecter w#th Chr#stopher 5al'ens h!ster#cal portra!al of the headless +orseman #n ,Sleep! +ollow) and !ou w#ll a&ree thorou&hl! w#th me that there #s much to $e &leaned from a sense of power comforta$l! and securel! held $ac') and onl! h#nted at throu&h the e.press#ons of character that ma! come w#th a su$tle &esture or use of the e!es(
4D
It ta'es conf#dence and a true sense of performance character to 'eep the sense of ma&#c and #ntr#&ue at a le"el where the aud#ence feel #t and respond to #t) but fed that they ha e sensed it for themsel es rather than ha"#n& had #t thrust upon them( he mental#st who presents a twod#mens#onal) e.a&&erated character) portra!s someth#n& most pro$a$l! -u#te un$el#e"a$le) and ult#matel! d#shonest( +e ma'es a s#m#lar m#sta'e to the ma&#c#an who dec#des to wear one of those terr#f!#n& $ad&es of an#ateursh#p when perform#n&* namel! a pla!#n&-card t#e( I real#se that I ha"e %ust al#enated a th#rd of the ma&#c commun#t! $! ment#on#n& that) $ut trust me on th#s one) you look dreadful! 5e all 'now that #f !ou false transfer a co#n #nto !our left hand) #t #s &enerall! $ad ma&#cal techn#-ue to po#nt and sa!) 62 ha"e the co#n #n t#n! left hand now(= O"erstat#n& the o$"#ous w#ll ma'e an aud#ence -uest#on #t( 9urthermore) a person hear#n& any statement w#ll ha"e to do some #nterpret#"e wor' on #t to ma'e sense of #t and f#t #nto h#s "ers#on of the world( If !ou want a person to $el#e"e someth#n&) and !ou state that th#n& outr#&ht as a pla#n fact) the! w#ll) mosl of the t#me) do the#r l#ttle p#ece of #nterpretat#"e wor' on that statement and #n do#n& so) mo"e awa! from #t sl#&htl!( he more #ndependent m#nded a person #s) the more -uest#on#n& the! w#ll perform( Add to th#s the fact that !ou are &o#n& to) as a ma&#c#an) #n"#te a certa#n amount of c!n#c#sm from !our aud#ence $efore !ou &et started) and !ou w#ll see that most th#n&s that !ou state outr#&ht w#ll not $e ta'en on face "alue( On the other hand) !our aud#ence w#ll hopefull! $e pa!#n& "er! close attent#on to !ou) wh#ch w#ll ma'e them "er! respons#"e to an! t#n! cue that !ou &#"e them( The little things will be responded to: the bold stDtements will be cynically questioned! If !our aud#ence #s &o#n& to $e do#n& e"en more #nterpretat#"e wor' than normal) wh#ch the! w#ll as w#tnesses of #llus#on #n order to feel that the! are 'eep#n& the#r w#ts a$out them) then !ou ha"e to understand the d!nam#c of &u#d#n& the#r #nterpretat#ons e"en more than normal( If !ou ma'e a $old statement) the! w#ll #nterpret away from the content of that statement( here #s no other d#rect#on #n wh#ch to &o( +owe"er) #f !ou imply what !ou want them to $el#e"e #n (a wa! that seems un#ntent#onal) then the! w#ll #nterpret #n the d#rect#on that !ou w#sh4#(e( towards the des#red conclus#on( Apparentl! un#ntent#onal #mpl#cat#on #s an appl#cat#on of su&&est#on( Understand#n& the role of su&&est#on need not $e daunt#n&) nor does one need to &et #nto such e.a&&erated nonsenses as
NCP to use #t) Kenton Knepper) #n h#s &ather#n& of electro-ma&net#c sound re&#strat#on cartr#d&es 65onder 5ords)= has appl#ed Bandler and Gr#nders , ransformat#onal Grammar and other l#n&u#st#c patterns) 7wh#ch #n turn &o $ac' to much of Choms'!8 to ma&#cal presentat#on( NCP has alwa!s cla#med to $e ,elus#"el! o$"#ous) #n that #t formulates and arran&es #deas and phenomena that are alread! present and clear to an!$od! who cares to loo') #f !ou do not ha"e a 'nac' for persuas#"e or commun#cat#"e s'#ll) then learn#n& NCP techn#-ues ma! #mpro"e !our a$#l#t#es( More l#'el! thou&h) the! w#ll allow !ou to sound l#'e someone w#th no real soc#al s'#lls who has learnt a set of ,rapport techn#-ues that) #ron#call!) al#enate and #rr#tate people around !ou( If !ou alread! ha"e a 'nac' for commun#cah"e su$tlet!) then the ,elus#"e part of that cla#m #s rendered redundant* the ,art of peoplKhandl#n& $ecomes) #n Stephen 9r!s memora$le words) +the art of the*set uckingob ious*it*makes*your*nose*bleed! Spea'#n& as someone who has pract#sed) tra#ned) stud#ed and wor'ed w#th NCP for some t#me) #t seems to me to $e a m#.ture of part common sense 7wh#ch are the parts that no one can ser#ousl! call pecul#ar to NCP8) part reasona$l! effect#"e techn#-ues for turn#n& the m#nd from such low-le"el patholo&#es as pho$#as and so on) and the rest o"er-h!ped and e"an&el#call!-pac'a&ed seduct#"e ru$$#sh( But as lon& as man! of #ts pract#t#oners cla#m that an!one can $ecome a &en#us #n a matter of m#nutes) #ts not &o#n& to &o awa!( M! ma#n concern #s w#th creat#n& presence and mean#n& throu&h su$tlet! and #mpl#cat#on) rather than local#sed lan&ua&e tr#c's that ma! or ma! not enhance the spectators percept#on of an effect( II an unappeal#n& ma&#c#an w#th no presence presents effects tr#"#all! $ut w#th all of Mr( Kneppers techn#-ues $r#ll#antl! at hand) I dont feel that he w#ll succeed ma&#call! as much as a performer w#th #mmense char#sma e-u#pped w#th %ust a natural 'nowled&e of word-power( he most natural wa! of ach#e"#n& the r#&ht '#nd of commun#cat#on for the enhancement of presence and mean#n& #s to s#mpl! belie e #n the ma&#c as !ou perform #t) w#th an understand#n& of how !ou are apparentl! ach#e"#n& !our m#racles) and then to let that understand#n& lea' throu&h naturall!( I ha"e wr#tten $efore #tt Pure Effect a$out the #mportance #n mental#st effects of commun#cat#n& an apparent 7thou&h f#ct#t#ous8 method for the ach#e"ement of the m#nd-read#n&( he more !ou can commun#cate those f#ct#t#ous techn#-ues w#thout appear#n& to do so purposefull!) the more $el#e"a$le the! w#ll $e) for the aud#ence w#ll feel that #t has spotted them for #tself(
5#th all ma&#c) th#s #s a sound pr#nc#ple( I shall -uote a charm#n& passa&e of omm! 5onder) #n wh#ch he descr#$es the S#lent Scr#pt #n appl#cat#on* ,l#t pretend to place a $all #nto m! left hand) $ut reall! palm #t #n the r#&ht) I would hold the left f#n&ers sl#&htl! cupped) %ust as would #f I &enu#nel! held the $all) l#the $all were #n m! left hand) I would $e a$le to see #t( But s#nce #t #snt there) I cant reall! see the $all( +owe"er) lcaa force m! #ma&#nat#on to see the $all( It #s part of m! s#lent scr#pt( Isee the #ma&e of the $all $e#n& held #n m! left hand( hen I th#n' the words) 6Now "an#sh) n! $o!)= address#n& the $all #n m! left hand( As the $all obeys, I m#&ht see #t f#rst lose #ts color) $ecom#n& transparent unt#l #t e"entuall! d#sappears( But whate"er the #ma&#nar! mode of "an#sh I ha"e f#.ed on) % act#(tall! see #t &o #n %ust that wa!( 5hen #ts &one) I m#&ht th#n' someth#n& l#'e 6GoodE= wh#le I open the hand( % can open the hand now $ecause the $all #s no lon&er there and the hand neednt hold it& Of course the mo"es ha"e $een pract#ced so that #n open#n& the hand the aud#ence has a chance to see that it #s empt!( hen) as I $rush m! palms toðer I could th#n') 6Cot r#d of that one n#cel!(=
9rom )cting is Eot :aking 9aces) he Boo's of 5onder Bol( 2) p( 0FL
5e ha"e d#scussed a model of ma&#c where the ma&#c#an #s not -u#te the omn#sc#ent f#&ure who can control the un#"erse wh#ms#ca#l! thou&h the cl#c' of h#s f#n&ers( Instead) he #s a more human &u#de to a realm of wonder that w#ll sh#ne throu&h) a l#ttle unpred#cta$l!) #f c#rcumstances #n th#s world are arran&ed %ust r#&ht( Althou&h there w#ll $e t#mes when a more trad#t#onal) wh#ms#cal approach w#ll $e called for) the ma&#c#an comm#tted to th#s more dramat#call! resonant model must $el#e"e #t ent#rel! #n performance and allow that $el#ef to lead h#s $eha"#our( 9or e.ample) #n the 9loat#n& ;#n& effect I ha"e descr#$ed) I must not $e em$arrassed a$out the fact that the spectator #s &enu#nel! and ser#ousl! to create the feel#n& #n her m#nd) nor must I downpla! to her the #mportance of her ser#ous cooperat#on( It #s $! not comprom#s#n& the ma&#cal cause and effect of the p#ece that #t has the potent#al to $ecome wondrous( B! #ma&#nat#"el! follow#n& the "an#sh of the $all w#th so much comm#tment) omm! 5onder ma'es #t more real and therefore more wondrous #n a wa! that the aud#ence w#ll feel for themsel"es rather than ha"e po#nted out to them( S#m#larl!) #f one comm#ts to a dramat#call! profound model of ma&#c #n th#s wa!) the aud#ence w#ll $e led to a &reater #n"ol"ement #n the effects(
4
he t#mes when I am d#sappo#nted #n m! own performance are the t#mes when I ha"e not $een comm#tted to m! $el#efs) and therefore performed ar$#trar#l!( 5hen I $e&#n to perform to a &roup) there are certa#n $el#efs I ha"e #n m#nd) and I w#ll allow them to $e commun#cated su$tl!*
h#s demands !our und#"#ded attent#on( :ou w#ll treat m! performance w#th respect(
h#s #s the real stuff( Im not mess#n& a$out( I am &o#n& to frea' !ou out(
I w#ll commun#cate the f#rst $el#ef $! ta'#n& m! t#me $efore I start 7to $u#ld up #nterest8) then wa#t#n& unt#l I ha"e the attent#on of the &roup( If a couple of people are st#ll tal'#n&) I w#ll wa#t for them to stop( l## s#tuat#ons where the! 'eep chatt#n&) #n"ar#a$l! other people at the ta$le $ecome #rr#tated w#th them and ma'e them $e -u#et( hen I w#ll than' the &roup pol#tel!( IfE see a mo$#le telephone 7or ,cell phone to our Amer#can $rethren8) I w#ll usuall! as' for #t to $e sw#tched off) alon& w#th an! others( h#s does depend upon the nature of the "enue* $ut #f the &roup are #n m! performance space) rather than "#ce-"ersa) I would certa#nl! ma'e that re-uest( he second $el#ef #s commun#cated much w#th the f#rst) $ut much can st#ll $e sa#d $! the amount of pol#te respect w#th wh#ch I treat the spectators around me( If someone #s tr!#n& to mess th#n&s up for me) I w#ll soon mo"e them to ,let someone else ha"e a &o 4and m! clear $ut courteous refusal to tolerate d#srespect w#ll $e understood $! the &roup( he f#nal two $el#efs can $e stated more o$"#ousl!) as lon& as !ou are sure that !ou ha"e the char#sma and talent to $ac' up !our cla#ms( I l#'e to use the #n#t#al moment of #ntroduct#on to sow the seeds #n the r#&ht d#rect#on( Because the approach #s such an #mportant moment) and one $un&led $! so man! performers) I shall spend a moment loo'#n& at what one can su$tl!
commun#cate(
At m! res#denc! #n Br#stol) #n the sprawl#n& 3ast-3uropean loun&e $ar of a restaurant called Fy-antium, I approach a &roup w#th someth#n& l#'e the follow#n& words) and a well-pract#sed &l#nt #n m! e!e* ,Good e"en#n&) welcome to B!Aant#um( If !ou dont 'now me) m! names /erren Brown) and Im((( a kind of ma&#c#an( +ello there 7sha'#n& hands) &ett#n& a few names8((( Ma! I %o#n !ou for a couple of m#nutes@((( han' !ou( Im sha'#n& hands and learn#n& a few names) repeat#n& m! own of course) 'now#n& full well that the words ,a '#nd of ma&#c#an are han&#n& #n the a#r( he t#m#n& #s such that the! are all left -uest#on#n& that descr#pt#on) $ut ha"e no chance to "er$al#se the#r cur#os#t!( I dont want to ha"e to e.pla#n what I mean) and 2 want to &et them #nto a respons#"e and cur#ous state( An! c!n#c#sm that ma! ha"e resulted from #ntroduc#n& m!self as merel! ,the ma&#c#an #s d#sarmed $! the #mpl#cat#on that the#r preconcept#ons are &o#n& to $e #naccurate( Also) $! welcom#n& them to the restaurant) #t #s clear that I am part of the place and not someone #n from the street( And $! ta'#n& the t#me to learn some names and as'#n& #f I m#&ht %o#n
'ote
D,
(d& 4adly no more! They cant afford me! Tue resisted the urge to plare this section in the past tense, but it
seemed unnecessary: as is clear, when this book was written % u',s eanung my li ing table*hopping! There i' no greater f<rm of instruction than these regular .#.s where one de elops material at an ' rate and has the time and space % hone e erything tea fine point! %f you are beginning a career as a magician, go and get yourself such a residency their instructional alue! youll gel >>G of your work through them once (Hu settle in the right sort of place!
4
aside from
them 7and no ones &o#n& to refuse after all the hand-sha'#n& and so pol#te a re-uest8) I ha"e commun#cated a respectful tone) wh#ch w#ll $e reflected #n the#r att#tude towards me( Much) therefore) has alread! $een sa#d #n a few moments) and #n a wa! that w#ll ha"e the spectators feel#n& what I would l#'e them to) and apparentl! of the#r own accord( h#s can onl! come from pract#s#n& e.treme self-awareness l#terall! see#n& !ourself) #n !our m#nd) approach#n& a &roup and #ntroduc#n& !ourself( 5h#le #t ma! seem that I am ma'#n& a lot out of a "er! small po#nt) one onl! has to see how most ma&#c#ans al#enate the#r aud#ences from the open#n& moments to see how "#tal #t #s to &et th#s r#&ht(
4
Now) dont &et roe wron&) please dont( If !ou f#nd !ourself &ett#n& me wron& for e"en a moment) stop #mmed#atel!( I am not su&&est#n& that the approach to a ta$le need $e an enormous #ssue( he words I sa! are perfectl! nawral) and I do not st#c' to them r#&#dl!( People that are naturall! affa$le ma! ne"er &#"e th#s a moments cons#derat#on) $ut feel so del#&hted and conf#dent a$out approach#n& a &roup that the! commun#cate all the r#&ht th#n&s w#th no need for thou&ht( 5hen performers do ma'e a $#& deal out of the approach) the! &enerall! tr! to $e too cle"er) and wor' out an open#n& effect that has happened $efore an!one has a chance to real#se what #s happen#n&( /a"#d 5#ll#amson) on an earl! lecture "#deo) descr#$es a spoon-$end#n& rout#ne) w#th wh#ch he then opened at ta$les( +e would as' to $orrow a spoon) perform h#s e.cellent se-uence) and then #ntroduce h#mself afterwards( Perhaps th#s comes down to no more than cultural d#fferences) $ut to approach the ta$le of a /#n#n& 3n&l#sh 9am#l! #n th#s wa! would seem
a l#ttle rude( +owe"er &ood an open#n& se-uence one ma! ha"e de"#sed) I cannot o"erest#mate the #mportance of #n"o'#n& cur#os#t! and respons#"eness #n the &roup $efore !ou off#c#all! $e&#n(
M! f#rst few rout#nes are) currentl!) of the m#nd-read#n& "ar#et!( he descr#pt#on of m!self as ,a '#nd of ma&#c#an now starts to ma'e sense* clearl! I am not someone who #s &o#n& to do cle"er tr#c's w#th co#ns and $#ts of rope( M! st!le #s &entle and ser#ous at heart) w#th some stron& po#nts of humour to 'eep the tens#on well-paced( In m! m#nd) I ha"e the att#tude that I am perform#n& the ,real stuff) and merel! &#"e the descr#pt#on of ,'#nd of ma&#c#an to help them appl! a la$el( Because I am not tout#n& m!self as a ser#ous ps!ch#c) I am happ! for them to th#n') of me as an ele ated ma&#c#an of sorts( At the $e&#nn#n& of one rout#ne) I sa! the words) 6As a few of us &et deeper #nto ma&#c and mo"e awa! from the sle#&ht-of-hand end of th#n&s h#s su$tl! tr#"#al#ses mere tr#c'er!) wh#ch #n turn su&&ests that I am do#n& someth#n& altoðer more real( And rare) for onl! a ,few of us &o so deep( 5hen I am concentrat#n& on m#nd-read#n& effects) I close w#th the float#n& ;#n&( B! th#s po#nt) howe"er) the mood has $een so created thD#t to th#n' of ph!s#cal tr#c'er! would seem #nsult#n&( +a"#n& esta$l#shed that I wor' w#th deeper forces than mere prest#d#&#tat#on) a couple of stron&) "#sual ma&#cal effects presented w#th a ser#ous tone $ecome that much more powerful( o susta#n th#s I must not) #n th#s set) perform an!th#n& that #s clearl! the result of cle"er f#n&ers( herefore the preced#n& m#nd-read#n& effects la! a core of su&&est#on as to m! methods and talents) wh#ch colours the presentat#on ot m! non-mental rout#nes(
4 4
herefore) rout#n#n& #tself can commun#cate much of !our "#s#on and the percept#on of ma&#c w#th wh#ch !ou w#sh to lea"e them( he m#s&u#ded po#nt #s made often $! ma&#c#ans) ma#nl! nonprofess#onals) that #f an aud#ence perce#"e !ou f#rst as a sle#&ht-of- hand ma&#c#an) #t w#ll ma'e #t d#ff#cult for them to $el#e"e #n !ou later as a m#nd-reader( Ma&#c#ans ma'e such statements wh#le a lar&e proport#on of the &eneral pu$l#c) at the t#me of wr#t#n&) are happ! to $el#e"e that /a"#d Blame has some occult a$#l#t#es e"en thou&h h#s reperto#re #s $ased on card-tr#c's( /a"#d Ber&las also e.-u#s#tel! $lended the two performance areas #n the end #t #s all down to the performer( 3#ther he ma'es #t f#t and #s a$le to hold #t all toðer $! the force of h#s personal#t!) or he fa#ls $ecause h#s performance #s meander#n& and unclear( It #s lud#crous to ma'e o$%ect#"e statements a$out whether ma&#c and m#nd-read#n& m#.( In fact) one m#&ht e"en cons#der the con"erse of the m#s&u#ded ma.#m and su&&est that 'f your audience percei ' you firs& as a n-ind'reader, it will be more d'fflcu(t for them later to belie e you as a sleight*of*hand magician! G#"en a w#se cho#ce of mater#al) and the r#&ht sort of presentat#on) the resonant effect of &ood mental rout#nes w#ll la! a su&&est#"e $ase that can turn a ma&#c tr#c' #nto a m#racle( he two areas of ma&#c can a$solutel! $e m#.ed and l#e con&ruentl! w#th each other) pro"#ded one #s #ntell#&ent enou&h to routine and perform them sens#t#"el!(
4
;emem$er) m! model here #s not one of pretend#n& to $e ps!ch#c( It #s one of present#n& ma&#c that does not feel l#'e tr#c'er!) and wh#ch captures the emot#ons and #ma&#nat#on 7wh#le d#stract#n& the #ntellect8 #n a wa! that ma'es #t feel real( So I am not tr!#n& to con"#nce the aud#ence that $ecause I can read the#r m#nds) I must ha"e super-human powers that allow me actually to ma'e an o$%ect "an#sh( I dont e.pect #t to $e #ntellectuall! cred#$le #n the wa! that the m#nd-read#n& sells #tself to $e( But $! sett#n& the sta&e w#th some ethereal effects that are clearl! far remo"ed from tr#c'er! or sle#&ht- of-hand) a tone #s set of non-ph!s#cal techn#-ues and ps!cholo&#cal man#pulat#on( Once th#s #s esta$l#shed) I can f#nall! push #t %ust $e!ond those $ounds) to further d#sarm the &roup( 5hen the watch stops and the r#n& tw#tches) the ,ethereal has %ust man#fested #tself "#s#$l!( 5hen the r#n& then floats) #t #s des#&ned to sent#mentall! o"erwhelm the rap#dl! ad%ust#n& #ntellects of the &roup( ;ather than underm#n#n& the m#nd-read#n&) I a#m here to ele"ate
#t to someth#n& more aesthet#call! charm#n&) someth#n& that has #ts ra#son dMtre #n the world of wonder rather than puAAlement* fundamentall! emot#onal rather than #ntellectual( Someth#n& that #s essent#all! a ma&#cal effect can ach#e"e th#s) l#ft#r& the act to a new le"el) pro"#ded #t #s #n 'eep#n& w#th the prem#se of what has come $e ore( 7 herefore a four-ace product#on to l#n#sh would not wor') whereas someth#n& "#sual and $#Aarre and $eaut#ful l#'e a penetrat#on effect or le"#tat#on could #mpl! that the &roup #s halluc#nat#n&) someth#n& #n l#ne ent#rel! w#th what has come $efore(8 A ma&#cal effect $ecomes more ser#ous and eer#e) wh#le the m#nd-read#n& $ecomes more wondrous( o summar#se so far* we must see' to a$sor$ the model of real ma&#c at the le"el of belief, then allow #t to lea' throu&h #n the wa! #n wh#ch we approach our aud#ence and the thou&ht $eh#nd the structure of our routines! Our words and act#ons must presuppose that we are perform#n& the real stuff) and #n order to $e do#n& so) &reater demands w#ll ha"e to $e made on e"er!ones #n"estment( he spectators ha"e a &reater role to pla! than #f we were %ust &o#n& to man#pulate a few cards for them( hat presuppos#t#on #s a "er! powerful form of su&&est#on( he aud#ence w#ll ta'e the#r cues from what we presume to $e true) and wor' towards the conclus#ons that we would l#'e them to ha"e(
B! pa!#n& close attent#on to how su$tlet#es can $e commun#cated and #mpl#ed) !ou w#ll &o a lon& wa! to form#n& an en&ross#n& character( he lasc#nat#n& ma&#cal -ual#t#es that !ou apparentl! possess w#ll $e commun#cated as su$tl! as an! character tra#t wh#ch #s a$solutel! a part of !ou)
w#thout need for o"erstatement( herefore there w#ll $e a r#chness and a three-d#mens#onal -ual#t! to !ou as a performer) rather than %ust $e#n& a wor'er of tr#c's( he s#mplest wa! of th#n'#n& a$out th#s #n pract#cal terms #s as foUows( 5hen !ou are perform#n& ma&#c at an e"ent) ma'e #t such that people are &ett#n& to meet you. he! are &o#n& to #nteract w#th a "er! fasc#nat#n& and &entl! unner"#n& !ou who clearl! has some "er! mar"ellous a$#l#t#es( :our whole manner) !our loo's) the wa! !ou spea' all these th#n&s commun#cate those a$#l#t#es and that character( :ou w#ll of course offer one or two demonstrat#ons of those s'#lls) demonstrat#ons wh#ch w#ll ha"e an a#r of unpred#cta$#l#t! to them) and the feel#n& of $e#n& mere &l#mpses #nto a wealth of esoter#c 'nowled&e that would ma'e !ou fasc#nat#n& to tal' to( :ou $ear the we#&ht and the %o! of !our profess#on and pass#on #n !ou(r "er! $e#n&* there #s a calmness and a ma&net#sm to !ou that an!one remotel! sens#t#"e w#f# p#c' up on( hese are attract#"e and #mmensel! en&a&#n& -ual#t#es( here #s noth#n& of the se-u#nned enterta#ner a$out !ou) no al#enat#n& ,personal#t! slapped on l#'e sta&e ma'e-up( :ou resonate real ma&#c) and do not %ust loo' l#'e an act( Cater we w#ll loo' at form#n& character( But for now) presum#n& that !ou are a capa$le ma&#c#an) the presence that !ou e.ude #s !our most #mportant asset( 5here !our personal#t! rad#ates the -ual#t! of ma&#c) an enormous amount of su&&est#on w#ll $e at wor'( 3n that s#tuat#on) !ou can perform what could otherw#se $e seen as a med#ocre tr#c' and ha"e #t pla! as profoundl! ma&#cal(
he /e"#ls P#dure-$oo'
The Iole of Playing Aards, and Ahoice of :aterial
ha"e a dear) del#&htful Grandmother whom I see occas#onall! #n the warden-ass#sted flat where she e'es out her tw#l#&ht !ears( he trans#ent) crepuscular per#od $etween sauc! m#ddle-a&e and "#olent) pa#nful death has) #n the case of th#s hea"! octo&enar#an) $een a t#me of "ar#a$le madness( One m#nute she #s a sweet old s#ll!) 'n#tt#n& herself a set of s!r#n&e co"ers and tal'#n& a$out her fa"our#te flowers) and the "er! ne.t moment she has %ust told !ou and !our fr#ends that she has a r#n& support#n& the $ac' wall of her "a&#na( he prolapse of a madwoman pushed neatl! to one s#de for a moment) her cand#d) off-the-cuff confess#ons &ot me th#n'#n& a$out the #ssue of propr#et!( 5hen I as' her a$out her da! and rece#"e the repl!) 65ell I &ot up th#s morn#n& and I needed to post a letter so I went out to the post $o. at the end of the street and then I thou&ht Id need some stamps so I went #n and &ot some then I came home and had a sh#t and then I went out an(d $ou&ht a lettuce)= I am del#&hted $! her happ! #&norance of what #s or #s not appropr#ate to the s#tuat#on at hand( In the w#Aened f#l#&ree of her old) old m#nd) such th#n&s are all part of her da#l! tum$le of thou&hts and e.per#ences) and there #s no reason to hold $ac') e"en #f she -u#te turns her relat#"es from the#r tea(
5hat ma! feel a natural e.press#on to one person ma! $e odd and #nappropr#ate to the rece#"er( In ma&#c) !ou ma! perform mater#al w#th wh#ch !ou are ent#rel! comforta$le) and $el#e"e !ou do so w#th the r#&ht '#nd of profess#onal charm) !et that mater#al ma! $e utterl! #nappropr#ate e#ther
4
to !our character or the mores of the "enue( In Pure Effect, I ment#on $r#efl! m! handl#n& of ,;#n& 9l#&ht) or dme 9l!#n& ;#n&) where the r#n& cl#mact#call! appears #n m! soc'( After a couple of "an#shes and returns to the 'e!-fo$) #ts arr#"al #n m! an'le-ha#r #s a surpr#s#n& one #ndeed( I would &#n&erl! l#ft m! trouser-le& at the 'nee to e.pose the $ump #n m! soc') and as' the lad! #n -uest#on to reach #nto the soc' and retr#e"e her %eweller!( I was so del#&hted $! the effect that I d#dnt -uest#on whether #t m#&ht not $e -u#te what pol#te compan! would apprec#ate( On one occas#on I performed for a rather tac#turn and unrespons#"e couple at m! res#denc! n#&ht #n Br#stol) ar#d after real#s#n& that the! were seem#n&l! not #n the mood) I left them alone( It turned out that the! were fr#ends of some other ma&#c#ans I 'new) and were wear! of the wa!s of the thaumatur&e( 5hen I heard throu&h these mutual fr#ends a$out them) and rece#"ed feed$ac' a$out that performance) one of the th#n&s that the couple had rather d#sda#nfull! remem$ered was that I stuc' m! foot on the ta$le and made the lad! st#c' her hand down m! soc'( +ear#n& #t l#'e that) I real#sed how #nappropr#ate #t had $een( I) who am so careful to remo"e an! d#spara&#n&) hum#l#at#n& humour or references #n m! performance) had made the crass m#sta'e of &lar#n& #mpropr#et!( I was deepl! em$arrassed) and #mmed#atel! remo"ed the effect from m! reperto#re( As#de from #ssues of propr#et! and taste) cho#ce of appropr#ate mater#al should lead one to $e ruthless( Cet us cons#der a clear fact( If !ou were a$le to pro"#de a l#n' w#th a ma&#cal world and cause #t to sh#mmer throu&h for the wonder of all concerned) !ou would not $e us#n& card tr#c's as a "essel for th#s( Unless !ou ma'e some a$sor$#n& and plaus#$le -ual#f#cat#ons) a dec' of cards w#ll &#"e a clear messa&e to an aud#ence that sle#&htDof-hand tr#c'er! #s a$out to ensue( If !ou are to perform ma&#c that feels real and has an aesthet#c and emot#onal #mpact that renders #t unner"#n& and wonderful) card ,tr#c's 7#(e( those l#&ht-hearted rout#nes that del#&ht #n the ant#cs of the cards8 cannot $e at the heart of !our performance( Card ,tr#c's do ha"e the#r place #n the model of ;eal Ma&#c) as those del#&htful f#rewor's for solo "#ol#n ha"e the#r place #n the s!mphon!( hat #s the#r home( /#spla!s of s'#ll) ma&#cal #n theme( ;e&ardless of how hea"! the patter) cards chan&#n& and transpos#n& w#ll $e ta'en to $e the results of comforta$le s'##l) not a call from an esoter#c underworld wh#ch the performer would tr! and harness( I am "er! spec#f#c a$out how I deal w#th the #ssue of the appropr#ateness o(f pla!#n& cards( I ha"e a few effects us#n& cards that can $e #ncluded #n m! ma#n rout#nes( One #s ,Plerophor#a) &#"en #n Pure Effect! h#s uses the dec' cards as a un#t* the! are shuffled $! a spectator and I can name them #n order wh#le turned awa!( here #s no ,handl#n&) and I am perform#n& someth#n& conceptuall! "er! s#mple( here #s no ,$us#ness) and no plots or contr#"ances( A second effect occurs as an apparent e.planat#on of how much of the m#nd-read#n& #s done* three spectators each p#c' a card) and I ensure them that the! w#ll each &#"e awa! the cards that the! ha"e p#c'ed( he f#rst does so #n a r#chl! enterta#n#n& and utterl! plaus#$le wa!) as I e.pla#n m! techn#-ues( 5#th the second I show how -u#c'l! the card can $e arr#"ed at( he th#rd #s named) p#ecemeal) $! another spectator who has not seen #f* I use "er$al techn#-ue and &esture to force the r#&ht cho#ce of colour) "alue and su#t( All emphas#s #s on the clues &#"en off $! the spectators) each desperate not to &#"e awa! the #dent#t#es of the#r cards* #t #s a r#chl! human and amus#n& rout#ne) w#th a three-fold pro&ress#"e structure( he th#rd rout#ne I use #s an effect) also descr#$ed #n P7ue Effect where a fr#end of the spectator) called on the telephone) #s a$le to #dent#f! a card #n the 'eep#n& of that spectator( 3ach of these three rout#nes #s of a m#nd-read#n& nature) and none del#&hts #n the cards for their own sake! he end result) hopefull!) are rout#nes wh#ch pla! much lar&er than card tr#c's* the! are a$out the personal#t#es of the people #n"ol"ed a$out the s#&nals the! &#"e off) how well the!
4
can l#e) or the #mpact of &eo&raph! #n the case of the telephone effect( Other than these effects) I 'eep m! card rout#nes "er! separate from m! math set( If I am to spend t#me perform#n& for a &roup) m! pr#or#t! #s to affect them deepl! w#th r#ch and plaus#$le ma&#c( Noth#n& a$out what I do for them w#ll al#enate them unless I choose to ma'e them feel "er! self-consc#ous for a moment( he s#&ht of cards #s not conduc#"e to ma&#c that cla#ms to transcend the ord#nar!( he stren&th of card effects l#es #n the#r ele&ance( lBhen I perform m! card mater#al profess#onall!) #t #s usuall! at a champa&ne recept#on) where m! a#m #s to pro"#de a soph#st#cated focal po#nt to the m#n&l#n&( I set up m! ta$le) w#th #ts &reen "el"et cloth) and #n"#te a few &uests to %o#n me( I choose men rather than women) for the former are &enerall! more #nterested #n such th#n&s) and I allow them to feel a sense of ,Ah) we are e.per#enc#n& profess#onal card- ma&#c now of the $est '#nd( h#s &u! #s so smooth(
I w#ll perform card mater#al earl! #n the e"en#n&) m#n&l#n& #t w#th some con%ur#n& effects of a nonmental "ar#et!) to &a#n #nterest and ach#e"e rapport) and ha"e some fun w#th the &roup( In m! m#nd) I am follow#n& the lo&#c that I am &ett#n& to 'now the &uests and &ather#n& m! w#ts) to later mo"e to the ,real stuff once I ha"e a ps!cholo&#cal handle on the &roup( In order to pla! up the ele&ance) I do need to create a soph#st#cated en"#ronment( he ta$le) com$#ned w#th m! costume and manner) allow me to do th#s( If I must m#n&le w#th the &uests( I ne"er use a dec' of cards) for then the controlled ele&ance #s too eas#l! lost( In short) card rout#nes can $e "er! lo"el!) and !our aud#ence w#ll pro$a$l! $e d#"#ded $etween those that lo"e them and hale them( But few card tr#c's w#ll ha"e the resonance of rea# ma&#c* the#r appeal l#es elsewhere) #n the d#spla! of #mmense s'#ll that the! offer( he! should $e 'ept separate for that reason) and presented #n a wa! that focuses on the#r stren&ths) w#th the emphas#s on ele&ance and profess#onal#sm( I am) howe"er) no lon&er #ncl#ned to use card rout#nes that lac' an! human#t!( Althou&h card tr#c's ma! alwa!s su&&est manual de.ter#t! rather than l#n's w#th the underworld) I see no reason wh! the! shouldnt $e r#chl! warm and "#suall! $eaut#ful( he! can resonate a feel#n& of art#st#c ma&#c throu&h the e.tent to wh#ch the! pro"o'e a purel! aesthet#c response from the spectator and en&a&e her emot#ons( 9or e.ample) a tr#c' where the red and $lac' cards 'eep separat#n&) howe"er cle"erl! ach#e"ed) #s not an en&a&#n& or human plot( I ha"e a well-structured and $affl#n& O#l and 5ater rout#ne of wh#ch I am proud) $ut I cannot for the l#fe of me f#nd a presentat#on that l#fts #t out of the cate&or! of ,:es) "er! cle"er( he Am$#t#ous Card left m! reperto#re !ears a&o) and 2 ha"e ne"er had an! des#re to f#nd the four Aces #n a puAAl#n& manner 7unless I were demonstrat#n& &am$l#n& su$terfu&es to an #nterested &roup8( One must $e ruthless) for to create ma&#c that f#lls the a#r w#th an unner"#n& wonder) one treads a "er! narrow path( I ta'e #t that we are #n a&reement that spon&e $alls) f#n&er-choppers and len&ths of rope cart happ#l! $e e.cluded from the l#st of "eh#cles for wonder( I ha"e) as I ha"e sa#d) "er! l#ttle use for co#ns) other than #n a few mental effects( In co#n ma&#c) the l#ttle de"#ls mo"e ma&#call! from here to there) and for a real thr#ll ma! suddenl! $ecome -u#te lar&e( h#s #s not enou&h for me) and a&a#n) I su&&est that #f !ou #ns#st on perform#n& co#n ma&#c) 'eep #t separate from what !ou are com#n& to de"elop as real and wondrous) Once !ou are clear what should nDt $e performed) !our efforts should $e ta'en up w#th de"elop#n& presentat#ons for the rout#nes w#th#n the scope of propr#et! that are alread! #n place #n !our reperto#re or wh#ch !ou f#nd commerc#all! a"a#la$le) or #deall! des#&n#n& rout#nes that are
$orn from an a$sorpt#on of th#s model( I w#ll d#scuss the creat#on of such effects later( But for now) #t #s clear that !ou w#ll need an arsenal of we#&ht! effects) and pro$a$l! ones that ha"e that #nt#mate and ethereal -ual#t! that &ood m#nd-read#n& offers( It w#ll $e d#ff#cult to create a plaus#$le and affect#n& e.per#ence #f !ou can onl! ma'e a card %ump to the top of the pac'(
3n"#ronmental Issues As
I wr#te) the sun has %ust set over the not un-/#c'ens#an "#ew from m! $edroom after a &lor#ous summers da!( he a#r #s st#ll warm) the w#ndow #s w#de open) and I am sat here stunn#n&l! na'ed( Summer #s the t#me when th#s happ! ma&#c#an ta'es h#s l#ttle $eard and appears at the sl#&htl! hon#$le &arden part#es o$ the r#ch and lud#crous( 3normous mar-uees) ornamental lawns) half-p#nts of P#mms and marr#ed cous#ns a$ound #n the#r formula#c wa!) and throu&h them I m#n&le $r#n&#n& fresh and l#"el! ma&#c wh#ch) thou&h #t doth pac' flat) pla!eth $#&( No Amer#can reader of th#s "olume 7and ## is a "olume8 can apprec#ate the sensat#on of attend#n& one of these un#-uel! 3n&l#sh e"ents( Ima&#ne r#ch lad#es who dont ha"e much se. tr!#n& to $e the Nueen( I ha e performed for +er Most Co"el! Ma%est! at se"eral of her ;o!al Garden Part#es at the $eaut#ful Sw#ndon Palace( and the one th#n& that one cannot accuse her or her part#es of $e#n& #s pretent#ous( She #s) after all) the Nueen( One cannot sa! to her) 65ho do !ou th#n' !ou are)= $ecause she would $e a$le to repl!) 6 he Nueen(= here would $e noth#n& to sa! #n return, and one would pro$a$l! ha"e ones coc' off#c#all! cut off for $e#n& so churl#sh( 5h#le on the su$%ect) $ad tr#c's to perform for +er Ma%est! #nclude the one w#th the $ra and hand'erch#efs and an!th#n& #n"ol"#n& patter a$out #nter$reed#n&( Gam$l#n& e.posOs are a fond fa"our#te of he Nueen Mother $ut card tr#c's are &enerall! frowned upon #n the Palace e"er s#nce +oll#n(&worth &ot drun' there one afternoon and threw up no#s#l! o"er f#"e of the ro!al cor&#s( It was reported #n the ta$lo#d press that he &ot #nto a f#st f#&ht w#th the then pr#ncess of 5ales who was ho&&#n& the $athroom and went home w#th a $ro'en face and ruptured n#pples( Garden part#es) for me) mean 3"er!one Stand#n&( No ta$les) aw'ward surround-s!stem "#ew#n& and related an&le cons#derat#ons( Once the! are eat#n& salmon #n the mar-uee I can %o#n them at the#r ta$les #f I must #n the fam#l#ar wa!) $ut dur#n& the recept#on I am faced w#th the need to chan&e se"eral rout#nes to ta'e #nto cons#derat#on the pecul#ar#t#es o the en"#ronment( +owe"er) the real #ssue that these e"ents present to me #s that of propriety! he fad #s that a ma&#c#an at a &arden part!) #f he #s to do h#s %o$ well) has a dut! to $lend #n w#th the o"erall aesthet#c of the afternoon( 5here does th#s lea"e our uncomprom#s#n& "#s#on@ I ha"e spent man! !ears perform#n& ,wal'around ma&#c and am &rateful for the fact that I can now #ns#st on &#"#n& m! performances the#r own space and no lon&er need to m#n&le( But the #ssue of #ncorporat#n& !our performance pr#or#t#es to f#t the d#ff#cult#es and opportun#t#es presented $! the "enue #s a "#tal one( hese &arden part#es) to $e&#n there) e"ents ha"e) l#'e an! &ather#n& of course) a soc#al code( S#ncere and #ntense pro"ocat#on #s as #nappropr#ate as $rea'#n& w#nd #n the P#mms $owl 7another #nfamous fau7 pas on the part of Mr( +oll#n&worth8( 5here people are del#&ht#n& #n the r#&ours of c#"#l#t!) a pa#d enterta#ner must of course respect that des#re) Most often) one must m#n&le and amuse( he aesthet#c of m#n&l#n& and amus#n& does not s#t well w#th our model of real ma&#c( o present real ma&#c) a tone of ser#ousness #s fundamental) and there #s no room for such a tone when one #s the m#n&l#n& amus#n& person at an e"ent of contr#"ed fr#"ol#t!(
It #s not so much the case that the "#s#on need $e comprom#sed( ;ather) #n order to $e a sens#t#"e a#.E ult#matel! more ma&#cal performer) !ou w#ll need to ,pace the aesthet#c of the e"ent $efore d#rect#n& !our role #nto other areas( B! th#s I mean s#mpl! that #f ,non-threaten#n& #s the 'e!) then so !ou must $e&#n) #n order to &a#n rapport w#th !our aud#ences and &a#n the#r trust and respect( I sa! ,respect) $ut the a#r of detached amusement that can $e pro"o'ed at these occas#ons #s a$solutel! cr#ppl#n&( Nonetheless) !our tas' #s to charm !our wa! to &reater m#racles) and #n the same wa! that !ou would not thrust a pac' of cards #n a d#ners chew#n& face $! means of #ntroduct#on at a restaurant) so too !ou must ta'e &reat care to act w#th all propr#et! at these e"ents( h#s desp#te the fact that !ou w#ll see !ourself as a fawn#n& %ester( hen) once that rapport has $een &a#ned) #t #s poss#$le to chan&e the tone somewhat( :ou w#ll st#ll rema#n charm#n&) $ut !our demands on the spectators w#ll #ntens#f!( 9or me) a clear d#fference that e"ol"ed when I c#rculated at these e"ents was the control of performance space* at the start of the e"ent) when rapport-&a#n#n& and amusement must $e the 'e!) I entered their space and offer some charm#n& rout#nes $efore mo"#n& on( It st#ll re"olted me) $ut there we are( Cater) howe"er) I would as' a few to s#t w#th me, as the! do now) and I w#ll re-uest s#lence when I need #t) e"en $rush#n& awa! the cater#n& staff who m#n&le w#th tra!s of doll!-food( It #s of course "#tal that !ou ha"e a &enu#ne sens#t#"#t! to the spectators) and see how far !ou can comforta$l! push th#s( Inappropr#ate arro&ance or uncomforta$le demands w#ll spo#l the aesthet#c of the e"ent( :ou are there to enhance th#n&s) not detract from them( But on the other hand) rem#nd !ourself of the $as#c fact that so often &oes am#ss( Of the dr#"e $eh#nd th#s $oo'( :ou are not a %u&&ler) nor a mere amuser of the m#ddle-classes* !ou are a magiciun!
he ma#n tas' of that wonderful %o$ #s to l#ft people out of themsel"es( :ou are a connect#on to a wondrous world) and #f !ou for&et that and %ust $ecome a m#n&l#n& tr#c'ster) then !ou are undercutt#n& !ourself) and den!#n& !ourself the sh#"er of an unr#"alled t!pe of %o$ sat#sfact#on( In 'eep#n& w#th our model) #t #s "#tal that !ou transport people* that #n some sens#t#"e wa! !ou challen&e the comfort of the soc#al conte.t( In places where the posh &ather and tal' a$out s#ll! th#n&s) !ou must &raduall!) softl!( sound a $ass note that rum$les( :ou act w#th caut#on) and !ou pace the mood of the e"ent 7and !ou dont cloud that %ud&ment $! sw#&&#n& too much of the Champa&ne !ourself8) $ut !ou remem$er that !ou are there to create ma&#c((( and !ou $#de !our t#me( At the other end of the e.treme) there was a t#me when I would f#nd m!self perform#n& for no#s#er and less se.uall! repressed crowds( h#s would happen #n $ars and less formal part#es where I would $e pa#d to enterta#n( +ere) the same rule appl#es* #t #s !our tas' to transport them out of the presumpt#ons of the en"#ronment( :ou $e&#n $! &a#n#n& rapport) w#th a rela.ed and eas!-&o#n& tone( But once that has $een esta$l#shed 7wh#ch w#ll $e much -u#c'er than #n the case of the &arden part!8) !ou must then l#ft them to a h#&her plane throu&h ma'#n& the ma&#c rather #ncon&ruous w#th the $anal#t! of the surround#n&s( It #s tempt#n& at these e"ents to pHa! around w#th a dec' of cards ar#d ta'e the whole th#n& l#&htl! or more crudel!) $ut th#s #s the e-u#"alent of ne"er surpass#n& pol#te m#n&l#n& o"er salmon and ca"#ar( So) con"ersel!) the answer #s to sh#ft #nto a more so$er) ele"ated and ser#ous tone) and to pla! on !our h#&herD(staws manner#sms and speech) #f !ou ha"e them( 2 certa#nl! do( In other words) !ou ma'e them #ma&#nat#"el! loo' up to the ma&#c* to see #t as someth#n& compared to wh#ch the $ustl#n& of the part! #s tr#"#al and $anal(
It #s the same process* &a#n#n& rapport) and slowl! pull#n& the aud#ence #nto a more controlled and ,ma&#cal space( 5hereas the formal tone of the &arden part! w#ll $e challen&ed a l#ttle #n order to $r#n& the spectators out of themsel"es) here we ma! f#nd that #ntroduc#n& a note of formal#t! w#ll do the same tr#c'( So althou&h the ma&#cal mood w#lt alwa!s $e s#m#lar) aspects of #t w#ll $e def#ned $! the soc#al s#tuat#on that one w#shes to transcend( I repeat thou&h) #t #s it'i( that !ou can do th#s wh#le $r#n&#n& the spectators w#th !ou( Otherw#se !ou w##l s#mpl! lose the rapport that !ou ha"e esta$l#shed( Perhaps the most unpleasant common wor'#n& en"#ronment must $e the $rawl#n& corporate e"ent of three hundred #ne$r#ated $us#nessmen pull#n& crac'ers and !ell#n& at each other across the dance floor( he hotel su#te) the floral arran&ements #n the centre of each ta$le) the dreaded part! poppers and no#se-ma'ers ne.t to each plate) the moron who comes #n fanc!-dress) the resentful wa#t#n& staff) the $ands sound-chec' $efore d#nner th#s #s a str#n& of cl#chOs that ma'e these e"ents of a un#forml! and pred#cta$l! wear!#n& nature( :et the! are the "er! same e"ents that we dreamed of re&ularl! wor'#n& at when we $e&an* the 3l!s#an 9#eld of Corporate 5or' was a $eaut#ful and sh#mmer#n& dest#nat#on po#nt as we trud&ed our wa! throu&h cafes and $ars loo'#n& for re&ular wor'( hose non-profess#onals read#n& th#s $oo' can $e del#&hted that the! are spared the hum#l#at#on and horror of ta$le-hopp#n& at such nast! funct#ons(
4
Ne"er ha"#n& wor'ed as an!th#n& other than a ma&#c#an) I ha"e ne"er attended one of these corporate e"ents as a &uest( 9or all I 'now) the! ma! $e a$solutel! del#&htful from the po#nt of "#ew of the d#n#n& dele&ate( Perhaps I would re"el #n #t all) and perhaps 2) too) would stand and ma'e to remo"e m! trousers #f a ma&#c#an should as' to see m! r#n& for a moment( 76Ah) I see now) S#r( I sa#d :ay % see your ring, referr#n& of course to the #tem of %eweller!) whereas !ou) #n an almost amus#n& m#sunderstand#n& of words) thou&htE had sa#d 4tand up and pretend to show us all your fetid arse you charmless, witless, bidet *straddling oaf! +ow utterl! h!ster#cal(=8 Presum#n& that I w#ll ne"er wear a su#t w#th a str#p! sh#rt and dr#n' lots of la&er #n a hotel conference-hosp#tal#t! le#sure-su#te) I shall onl! see these e"ents from the po#nt of "#ew of the performer( A&a#n) much can $e &a#ned $! not ha"#n& to do wal'around) $ut for now let us loo' at th#s most common s#tuat#on( Creat#n& the e.per#ence of ;eal Ma&#c at these e"ents #s almost #mposs#$le( hat #s predom#nantl! wh! I hate them so much( o $e proud of ones performance when one #s ha"#n& to shout to $e heard o"er the crass and the #&norant #s a "er! rare th#n&( 7I ma! sound d#spara&#n& a$out these $us#nessmen( hats $ecause I hate them(8 here #s almost noth#n& that can $e done( +owe"er) !ou must rema#n true to someth#n&( Upon approach#n& a ta$le) !ou should ma'e a $eel#ne for a lad!) hop#n& to f#nd a more respectful and less aw'ward person to #n"ol"e #n !our ma&#c( Introduce !ourself and sha'e hands w#th a few people) and %ust force the atmosphere at the ta$le to a more respectful one( It doesnt alwa!s wor') and !ou can onl! e.pect to ach#e"e so much( At these e"ents) !ou w#ll ha e to 'eep th#n&s l#&ht-hearted( :ou w#ll s#mpl! hum#l#ate !ourself #f !ou #ns#st on slow and so$er performance( I use a lot of p#c'-poc'et#n& at these e"ents) wh#ch has an up-$eat -ual#t! to #t wh#ch) althou&h #n star' contrast to m! normal st!le) allows for the $est to $e made from a d#ff#cult s#tuat#on( I steal watches) hand'erch#efs and t#es as I perform m! rout#nes) 7and now) #f perform#n& close-up I am happ! to perform a lot of ma&#c as well as the m#nd-read#n& the! ha"e pa#d me for8) &enerall! to the #mmense amusement of the &roup( h#s #s also a$out &a#n#n& rapport) #n the wa! I ha"e alread! ment#oned( I then f#n#sh w#th the float#n& r#n& rout#ne) e.actl! as descr#$ed) #n"ol"#n& one woman suddenl! "er! ser#ousl!( B! th#s po#nt I ha"e &a#ned the#r respect and attent#on w#th the faster-paced fun stuff( he #dea #s to pull them out of that l#&ht-hearted state for a moment and lea"e them w#th someth#n& -u#etl! d#stur$#n&( he! wont -u#te ta'e #t #n at the le"el that I can ensure happens -u#etl! #n a room w#th fewer d#stract#ons) $ut #t ser"es #ts purpose of pro"#d#n& someth#n& out of s!nch w#th the en"#ronment(
Somet#mes #ts a stru&&le) $ut somet#mes #t can $e &ood fun) and the enthus#asm from a drun' &roup who th#n' the world of !ou can $e a small reward( But wh#ther our model@ It #s s#mpl! the case that #f !ou must ta$le- hop or m#n&le) the control of performance space #s almost an #mposs#$#l#t!( he $est that !ou can do #s ha"e a "er! &ood and "er! enterta#n#n& st!le of performance for %ust these e"ents( 5hen I wor'ed these "enues under these d#ff#cult c#rcumstances) I felt I was re"ert#n& $ac' to the ma&#c I used to perform( Of course) that #snt true) for an!one who chan&es the#r ma&#c for the $etter and learns to perform #n a more resonant wa! w#ll ne"er -u#te re"ert to old form( But #f !ou ha"e to somet#mes feel that !ou ha"e comprom#sed !our call#n& and lust come across as an e.cellent sle#&ht-of-hard ma&#c#an w#th an enterta#n#n& personal#t!) then so $e #t( hats st#ll $etter than most of them out there( Its a $r#ef fr#"olous cadenAa a&a#n a&a#nst the solemn ada&#o of !our real wor' that &rows o"er the !ears( h#s certa#nl! ra#ses the #ssue of fle.#$#l#t! of "#s#on( 3#ther we see the s#tuat#on of the no#s! corporate funct#on as the fa#lure of our "#s#on) or we #ncorporate the necessar! response on our part into the "#s#on and ma'e #t more well-rounded( Cet us cons#der th#(s( Our "#s#on #s a$out perform#n& real) $el#e"a$le ma&#c( It #s not actually real) at least to our #ntellects and pro$a$l! to man! of the #ntellects of some aud#ence mem$ers) $ut #t #s emotionally real) to us #ncluded for we $el#e"e #t at that le"el( Somet#mes) #n that model) mere d#spla!s of s'#ll and ha"#n& fun w#ll $e appropr#ate* for these th#n&s esta$l#sh character) &a#n cred#$#l#t! ar#d esta$l#sh rapport( herefore) at e"ents where ha"#n& fun #s the onl! opt#on) #t can $e con&ruent w#th that w#der model to 'eep the ma&#c safe and fun( It does not mean that we feel that ma&#c should $e a$out $e#n& safe) onl! that #t #s appropr#ate on these occas#ons to create an atmosphere of fun for a moment and 'eep #t t#&ht-headed) wh#le our &reater "#s#on for ma&#c rolls on -u#etl!( 5h#le certa#n aspects of the performance ma! suffer) the "#s#on need not( It #s not threatened $! the need to produce fr#"olous nonsense occas#onall!) in the same way that a painters ision does not suffer 'f he is asked to doodle something on a napkin! A&a#n we see the d#fference $e#ween ser#ousness and solemn#t!* and to $e most ser#ous a$out ones "#s#on one should not $e too solemnl! prec#ous a$out #t( o do so would lea"e #t open to threat) and to render #t a precar#ous pretens#on rather than a deep and re"er$erat#n& $el#ef(
As
we ha"e d#scussed) most ma&#c performed $! most ma&#c#ans ta'es us no further #nto a dramat#c mode than the e.erc#se of w#ll( +e cl#c's h#s f#n&ers or spr#n'les some a$surd dust and $efore !ou can sa!) 6/ont patron#se us) !ou( un#ma&#nat#"e performer w#th no h#str#on#c sens#$#l#t!)= a len&th of unusual wh#te rope has $een rent asunder and cleft #n twa#n( In th#s s#tuat#on) no cause to the ma&#cal effect #s offered) other than the w#ll of the ma&#c#an( h#s endows the ma&#c#an w#th the role of 9#rst Cause) m#d therefore he comes to pla! an omn#sc#ent role( Ma&#c-man #s &od( 5h#ch #s f#ne) $ut we dont $el#e"e h#m( 5h#ch #s f#ne) #f we dont need to* if we ta'e the whole th#n& #n a ton&ue-#n- chee' wa!( Ber! often that w#ll $e a health! and
appropr#ate response) and these effects ser"e) as I ha"e sa#d pre"#ousl!) to esta$l#sh the s'#lls of the ma&#c#an and pro"#de a la!er of te.ture( But there #s that pro$lem of $el#ef) and th#s #s wh! 2 th#n' that these cons#derat#ons are #mmensel! pract#cal for the wor'#n& ma&#c#an( No #ntell#&ent spectator reall! th#n's that !ou can cause the cards to chan&e #dent#t! or turn face-down one at a t#me throu&h the anc#ent r#tual of esoter#c ,tw#st#n&( he same appl#es to almost all ma&#c presented #n th#s wa!( he more the effect re-u#res onl! an e.erc#se of w#ll) the less $el#e"a$le #t #s( here ma! st#ll $e a moment of ma&#c #f the effect #s presented s'#lfull!) $ut that ma&#c w#ll $e more a'#n to trans#ent surpr#se rather than re"er$erat#n&) unner"#n& wonder( 7Im tr!#n& to stop sa!#n& ,resonant now so I hope !oure comforta$le w#th ,re"er$erat#n&(8 All the aud#ence w#ll 'now #s that someth#n& the! saw d#dnt happen) $ecause ma&#c #snt real) If the ma&#c#an #snt ma'#n& an! effort to address th#s $as#c pro$lem and &#"e them space to f#nd #t real or someth#n& a'#n to real in saute sense, then the moment of ma&#c w#ll onl! e.tend so far( It #s here that ma&#c $ecomes perce#"ed as s'#lful tr#c'er!( he response to th#s sort of effect #s) 65owD :oure "er! cle"er( I dont suppose !ou can tell us how !ou d#d #t(= I feel someth#n& d#e #ns#de me when I hear the response) 6:oure "er! cle"er(= M! cle"erness does not spea' of a ma&#cal realm that I am allow#n& them to &l#mpse) #t does not spea' of an emot#onal truth that the! ha"e learnt for themsel"es) and #t does not spea' of art( Occas#onall! I 'now that #t #s &#"en almost #n em$arrassment* I ha"e had people "#s#$l! "er! mo"ed $! some effects and #n a f#t of resur&#n& 3n&l#shness) the! ha"e -u#c'l! reframed #t as someth#n& cle"er and non-threaten#n& to $e compl#mented 7and therefore 'ept at a safe d#stance8( hat I can l#"e w#th( I can alwa!s %ust stare $ac' at them and sm#le sadl!( At the other end of the speculum) there e.#sts a t!pe of ma&#c that sacr#f#ces all for some '#nd of messa&e( It has run ahead to the end of the drama and #s concerned onl! w#th the aud#ences understand#n& of the p#eces dramat#c "#s#on( It see's to del#"er a commun#cat#on) and the effect w#ll wor') usuall! metaphor#call!) to #mpart that( Immed#atel! we are #n a "er! d#fferent t!pe of ma&#c from those that depend merel! on a un#lateral declarat#on of w#ll) for now we are loo'#n& at ma&#c w#th a po#nt( Gospel ma&#c and the t!pe of trade- show ma&#c that #s des#&ned to promote a concept or product are l#n'ed $! the#r focus on #mpart#n& a messa&e( I do not warm to e#ther of these presentat#onal an&les) $ut once we start loo'#n& at f#nal mean#n&s) #t #s clear that we are &#"#n& the ma&#c room to e.pand( 5hen /arw#n Ort#A $e&#ns a set w#th 6Cet me show !ou wh! !ou should ne"er pla! cards w#th stran&ers)= he #s sett#n& up a "er! s#mple conte.tual frame for the effects that follow to endow them w#th mean#n&( h#s #s fram#n& the performance w#th mean#n&* when he ends w#th the s#m#lar words) 6and thats wh! !ou should ne"er pla! cards w#th stran&ers)= he has ensured that the spectators perce#"e a po#nt to what he has done( And there #s new learn#n& for the spectators) for the! now 'now to $e more careful when around unfam#l#ar card pla!ers( here are plent! of messa&e-hea"! effects &#"en $! wr#ters most concerned w#th dar'l! laden presentat#ons( M!ster#ous metaphor#cal tales are wrou&ht and pla!ed out throu&h the tear#n& and restor#n& of cards) the l#n'#n& of o$%ects and the fam#l#ar phenomena of ma&#c() all of wh#ch ha"e the#r #ma&#ned pr#mal mean#n&s re"ealed $! solenm presentat#on( +owe"er) I am scept#cal( As I ha"e sa#d) there #s no essence #n ma&#c to $e re"ealed) onl! what the ma&#c#an commun#cates a$out h#s art( A performer can $ecome "er! #n"ol"ed #n what he perce#"es to $e the s!m$ol#c "alue of h#s plots) and m#ss the fact that #n actual performance) the commun#cat#on of mean#n& $ecomes lud#crousl! d#sproport#onate to the effect( h#s #s the other end of the e.treme from ma&#c that #s tr#"#al#sed and performed mean#n&lessl! and w#thout st!le* #nstead we ha"e ma&#c that #s often performed pretent#ousl! and w#th a st!le &enerall! #nappropr#ate and em$arrass#n&(
5here the #ncorporat#on of mean#n& #s handled sens#t#"el! and w#th a clear sense of what actuall! wor's) then we w#ll ha"e a p#ece of ma&#c that po#nts somewhere and spea's of the "#s#on of the performer( I am not concerned here w#th commun#cat#n& a w#der soc#al) pol#t#cal or sp#r#tual "#s#on #n m! ma&#c( In m! model for understand#n& powerful ma&#cal performance) the messa&e #s the performance #tself( he "#s#on #s) as I ha"e ment#oned) a deftl!- wrou&ht m#.ture of character) mater#al and dramat#c f#nesse to pro"#de a deepl! affect#n& show( I a#m to ach#e"e that) and am somet#mes happ! w#th the results( In our model) #t #s st#ll #mportant that the ma&#c connect w#th the outs#de world and ha"e mean#n& #n the l#"es of the spectator( I would l#'e #t to connect w#th l#fe and) ta'e root) $ut as ma&#c) not as a tract( he ma#n $ul' of drama) howe"er) #s concerned w#th stru&&le and confl#ct resolut#on( Some ma&#c does wander #nto th#s area) $ut rarel! comm#ts at an! real le"el( he declarat#on of w#ll $e&#ns the drama) the messa&e and learn#n& ends #t) $ut th#s #s where tens#on and empath! are most &enerated( In ma&#c th#s need not $e &rand) $ut #t stands a far &reater chance of $e#n& #nterest#n&( he trad#t#onal Am$#t#ous card eflect) where the card #s placed repeatedl! #n the centre and %umps to the top at the w#ll of the performer) has not reached that confl#ct sta&e( he performer ma! patter #neffectuall! a$out am$#t#on) $ut such a plot de"#ce has no mean#n& to offer) and #s clearl! a presentat#onal e7cuse for perforrr##n& a ser#es of sle#&hts( In fact) #t #s a mere nod #n the d#rect#on of mean#n&ful conte.t( 7Some performers) tr!#n& to ma'e #t more ,mean#n&ful) m#&ht attempt to relate the mo"ement of the card to some aspect of l#fe l#'e am$#t#on) or) God sh#eld us from th#s ru$$#sh) the ,power of a woman when performed w#th a Nueen( 5e ha"e all seen such nonsense( he reason wh! these well-#ntent#oned presentat#ons fa#l #s that there #s no confl#ct or challen&e for the performer(8 As part of the te.ture of a lon& set) such s'#ll-d#spla!s ma! $e perfectl! "al#d) as I ha"e sa#d( But there #s no mean#n& to the effect as class#call! performed( Ne#ther #s there an! confl#ct or d#ff#cult! on the part of the performer( It refuses to $e human) or dramat#call! en&a&#n&( A tw#st #n plot ma! allow the #ma&#nat#"e performer to #nclude th#s( +ow would #t $e #f the a#m of the ma&#c#an were to put the card #n the m#ddle@
4
Ima&#ne th#s* card num$er one #s selected and s#&ned $! spectator one) and returned to the pac'( Card num$er two #s chosen) sight unseeu, $! spectator two and left on the ta$le #n front of her( 6:ou ha"e a one on f#ft!-two chance of remo"#n& the s#&ned card((( #f !ou ha"e) the ne.t part wont wor'(= he ma&#c#an then announces h#s attn to ma'e the s#&ned card %ump to the top of the dec'( A cl#c' of the famous f#n&ers) and #t #s done( It #s shown to $e on the top( , han' !ou) now I shall tr! the same w#th the second card)= he sa!s) casuall! plac#n& the f#rst card $ac' #n the centre of the dec'( 6At the moment) the top card #s the he $e&#ns) $ut as he tnrns o"er the top card) we see a&a#n the s#&ned card( 6I thou&ht I put that $ac' #n the m#ddle)= he mum$les) and loses #t a&a#n #n the dec'( But suddenl! #t has returned to the top( +e clearl! does not understand wh!) and the effect #s eer#e( +e cant seem to sh#ft #t from #ts place( hen he rela.es) &#"#n& up(( $ut now #t has d#sappeared altoðer(
46 -
It doesnt seem to $e #n the pac'( Nor #n an! poc'ets( 6/#d !ou actuall! see #t@= he as's the &roup( he! repl! #n the aff#rmat#"e( 6I th#n' we were all %ust e7pecting to see #t( I ha"e a feel#n&(((#t wasnt there at all((( th#s has happened to me $efore and he reaches across to spectator 0s card) st#ll face-down) and turns #t o"er( It was the s#&ned card all alon&) untouched on the ta$le(
A few am$#t#ous mo"es) and a sw#tch at the end) and we ha"e a real p#ece of we#rdness( C#'e a &ood ,suc'er effect) #t allows the sense of ,someth#n& has &one wron&) $ut unl#'e a suc'er effect)
the spectators dont feel l#'e suc'ers( 5hat we would ha"e there #s a s#tuat#on where the ma&#c#an #s cau&ht out $! h#s own tr#c'( +e attempts to control chan&e #n the world 7$! wh#ms#call! ma'#n& a card %ump to the top of the dec') wh#ch #s not #nterest#n&8) $ut the world has cau&ht h#m out* #t cant $e done) $ecause the card #n -uest#on #s not #n the dec'( :et we are to!#n& w#th a ma&#cal realm* a &host of the card appears #n #ts place) or ma!$e the perceptual man#pulat#on #s so con"#nc#n& that we %ust th#n' we ha"e seen a card t!at was not there( In th#s effect) the ma&#c#an loses control( h#s would $e anathema to the a"era&e ma&#c#an) $ut most a"era&e ma&#c#ans would f#nd #t hard to act the part con"#nc#n&l! to ma'e #t wor' theatr#call!( In our model for understand#n& ma&#c thou&h) the ma&#c#an #s not God* he #s a human f#&ure w#th a l#n' to the ma&#cal realm) and somet#mes that l#n' must cause h#m suffer#n&( Coss of control $ecomes a dramat#c po#nt and $olsters the apprec#at#on of the ma&#c( much l#'e a %u&&ler purposefull! dropp#n& a $all or two) If our ma&#c #s to $e plaus#$le) we must rem#nd them that #t #s not s#mpl! a case of cl#c'#n& f#n&ers or ma'#n& co#ns tra"el from hand to hand( here #s in estment, and therefore r#s'( A&a#n) I must repeat* th#s #s all to pro"#de te.ture( One effect #n a set where the ma&#c#an loses control of the s#tuat#on #n th#s wa! would suff#ce( h#s alternat#"e handl#n& of the am$#t#ous plot #s &#"en as an e.ample of turn#n& around a dramat#call! unsound narrat#"e and creat#n& an en&a&#n& po#nt of we#rdness* #t #s not a formula for e"er! tr#c'( As we th#n' now a$out form#n& effects) I cannot emphas#se enou&h that #t would $e far too hea"!Dhanded to ma'e e"er! effect pre&nant w#th drama or confl#ct) lest the whole #dea m#scarr! and !our aud#ence s#mpl! cannot swallow the ensu#n& mess( 7An unfortunate metaphor perhaps) $ut !ou &et m! po#nt8( But there are certa#n #deas that are worth $ear#n& #n m#nd as effects are formed) wh#ch can colour the rout#nes and ra#se the whole to a h#&her le"el( ,Ma&#c #s a$out #nfluence( Ma&#cal powers are not a$out end results) $ut a$out the endowment of the #nd#"#dual w#th &#fts) and the method $! wh#ch he can ,ma&#call! ach#e"e h#s a#ms( he chan&e #n the world 7the turn#n& #nto a fro&) the appearance of the ra$$#t8 #s the result of the ma&#c( it is not the magic itself! A&a#n( he ma&#c #s the process) #t #s what causes the effect( he home of ma&#c #s $etween the declarat#on of w#ll 7I choose to ha"e th#s card chan&e8 and the result of that declarat#on 7the card has chan&ed8( +ow e.actl! the ma&#c#ans w#ll $ecomes real#t! #s where the ma&#c happens( he ma&#c #s the causr of the effect) the effect is 1ust the part that we see! #f #t seems that I am ma'#n& an o$scure po#nt) let me e.pand( ;eturn#n& to ellers words and our d#scuss#on at the start of th#s $oo') one reason wh! ma&#c #s &enerall! such $ad theatre #s that #t deals onl! w#th effect) and #&nores cause( /ow the card chan&ed does not #nterest the ma&#c#an) onl! that #t d#d( :et the a&e-old response from the spectator ishow did !ou do that@= a cr! for causal reason#n&( he ma&#c#an) m#ss#n& the woods for the trees) th#n's onl! of a ser#es of effects( he cr! of the aud#ence #s a clue to what h#s concern should $e* the plac#n& of the ma&#c at the le"el of cause( In th#s wa!) a ser#es of #solated rout#nes 7effects8 $ecomes connected $! an underl!#n& connect#on of ma&#cal cause( h#s #s not merel! to s#lence the -uest#on of ,how) for #t #s unreal#st#c to ne"er e.pect #t to $e as'ed) $ut #t creates a feel#n& that the ,how has $een accommodated( In do#n& so) the ma&#c has $ecome plaus#$le(
4
Cet me #llustrate th#s $! return#n& to the concrete e.ample of that float#n& r#n&( 5hen a $#ll #s floated) what #s the cause of #t float#n&@ r#c'er! #s the #rr#med#ate answer( 5hen the r#n& floats) the spectator #s concentrat#n& on mo"#n& the $all of l#&ht #ns#de of her( he r#n& and the emot#on are l#n'ed $! sent#mental assoc#at#on( he mo"ement of the r#n& #s a metaphor for the spread of the feel#n&) and #ts ascens#on #s an #nstruct#on to $e del#&hted( here #s a reason) su&&ested $! the whole theatre of the th#n&) how and wh! the r#n& mo"es( here #s cause and effect(
Now let me mo"e a sta&e further( he cause and effect are not of th#s world* the! follow accord#n& to the lo&#c of the ma&#cal realm to wh#ch we) as ma&#c#ans) ha"e a connect#on( So #f we spec#f! the cause-and-effect #n human terms) such as a New-A&e! ener&! th#n&) such as And as !ou concentrate) the ener&! w#ll tra"el down !our arm and cause the r#n& to mo"e)= then #t ceases to $e ma&#cal( It $ecomes human) and w#thout wonder( he presentat#on that I &a"e for the r#n& effect allows for the connect#on $etween the spectators mental act#ons and the mo"ement of the r#n& to $e understood emot#onall! and unconsc#ousl!(
6(((
h#s wa!) cause #s &#"en w#thout the wonder d!#n& a death) wh#ch can so often happen #n mental#srn( he nature of most mental#sm) as I ha"e ment#oned) #s &enerall! to answer -uest#ons) not ra#se them( 6I ha"e th#s s'#ll P and I use th#s to ach#e"e these results( h#s #s how 2 do #t(= 5hether P #s a ps!ch#c a$#l#t! or f#nel!-tuned #nter-personal s'#lls) the answer #s &#"en( he a&enda of the mental#st #s normall! d#fferent #n th#s wa! to the ma&#c#an) who should create wonder) not merel! a mar"ell#n& at h#s own s'#lls( 7And lea"#n& the -uest#on Psychic or 6raud. open #s a poor su$st#tute for real wonder( +ere) the performer #s merel! push#n& the aud#ence #nto a polem#c) and undercutt#n& much of the power of h#s performance8( Cause $! metaphor) howe"er) as #n the case of the r#n&) #s a &enu#nel! ma&#cal conce#t( It #s openended) wondrous) and #t presumes #ntell#&ence on the part of !our aud#ence rather than patron#ses them( As ma&#c stands) the -uest#on of ,how #s an em$arrassment to the performer( It w#ll seem sacr#le&#ous to man! to e"en $e wr#t#n& a$out #t( o h#m) concentrat#n& on the effect onl!) the -uest#on of the actual e.erc#se of ma&#c #s l#terall! wa"ed awa! w#th a wand( /ealer effects that produce a flash of l#&ht or a puff of smo'e on command st#ll onl! h#&hl#&ht the "#s#$le effect) the! offer no clue as to the power that caused the chan&e( 9hat must $e left to the performer to see #f he can deal w#th th#s -uest#on #n h#s rout#n#n&) h#s approach and st!le) so that he can produce ma&#c that sh#mmers #n three d#mens#ons) deeper and more wondrous than the th#n sl#"er of #nterest caused $! the appearance of cle"er man#pulat#on( Somet#mes an e.#st#n& effect can $e ta'en and these #deas wor'ed #nto the presentat#on( Often such an effect w#ll ha"e to $e chan&ed to fac#l#tate mean#n& and the poss#$#l#t! of depth( A f#n&err#n& appear#n& on a 'e!-fo$) for e.ample) has l#ttle mean#n&( Its a neat tr#c') $ut d#ff#cult to th#n' what #ts appearance there could resol"e) other than the -uest#on of to where the r#n& has d#sappeared( But to ma'e #t resol"e someth#n& mean#n&ful would $e tou&h( herefore man! performers work w#th a $orrowed 'e!) wh#ch starts to ma'e more sense( Ke!s are a l#ttle cold as #tems) unl#'e the sent#mental assoc#at#ons of %eweller!) $ut the! ma! ser"e as assoc#at#ons for home) secur#t! and so on( ;ed and $lac' cards separat#n& are not #nherentl! #nterest#n&) $ut the #dea of harmon! $e#n& restored) and $alance $e#n& redressed) are( 9or me) as I s#t #n m! -u#lted s#l' dress#n&-&own at the harps#chord and dream up new effects to the sweet rapture of the Gold$er& Bar#at#ons 7Im sure wed $oth a&ree that the 5inone alla Term of the n#nth "ar#at#on #s part#cularl! conduc#"e to the st#rr#n& of the Muse8) th#s l#h#n'#n& #s fundamental to the earl#est sta&es of the creat#"e process( % tend to $e&#n w#th a feel#n& of how ma&#c m#&ht emanate( It #s not as cold as lo&#c) $ut there #s the -uest#on of ,how $efore there #s the -uest#on of ,what( Not ,how #n terms of actual method) for th#s #s the "er! last th#n& to $e loo'ed at) $ut ,how #n the ma&#cal sense( Perhaps a metaphor comes to m#nd( In the stor#es and no"els of Kaf'a we see how he $e&#ns w#th a metaphor* the #mpenetra$le castle) the o"er-arch#n& world of the Caw) the not#on of ones s#ns $e#n& car"ed upon ones s'#n) h#s $e#n& a ,paras#te #n the e!es of h#s father( hese metaphors are real#sed #n h#s stor#es) each #s pla!ed out l#terall! and de"elops the feel#n& of m!th) and each resonates w#th an #nner con&ru#t! that ma'es #t whole and somehow hol!( 5e leeE the metaphor) sense the metaph!s#cs #n h#s stor#es) and do not -uest#on
the#r lo&#c or a$surd#t!( Such #s the power of metaphor( A popular and effect#"e commun#cat#on tool fa"oured $! those that del#&ht #n modem therap#es #s to tell) sa!) a stor! that m#rrors the cond#t#on of the pat#ent 7sorr!) client2 and offers an #dea that ma! create powerful chan&e for her( But $ecause #t #s offered #nd#rectl!) as #f the therap#st #s tal'#n& of other th#n&s) the cl#ent can ta'e onl! what #s useful and d#sre&ard what #s #rrele"ant( In ma'#n& the connect#on w#th her own pl#&ht herself, she w#ll #n man! cases accept the messa&e at a deeper le"el than #f she was %ust told what was &ood for her 7wh#ch she ma! $e defens#"e a$out8( 9or e.ample) I was sat w#th a fr#end-of a-fr#end #n m! home who had half of h#s r#&ht l#ttle f#n&er m#ss#n&( )% ment#on that he was not a d#rect fr#end) for I would hate !ou to th#n' that I would 'eep re&ular compan! w#th spast#cs(8 I not#ced that he was selfconsc#ous a$out #t) and had de"eloped a num$er of eff#c#ent techn#-ues for 'eep#n& #t h#dden) I ment#oned #t late #n our con"ersat#on) and as'ed h#m how #t had happened( S#mon 7for #t was he8 told me that he has $lown #t off #n a chem#str! e.per#ment at school when he was f#fteen( I e.pressed how cool that was( /#d #t ma'e h#m self-consc#ous@ :es) espec#all! around women that he l#'ed( h#s seemed a n#ce opportun#t! for a ,metaphor#cal #nter"ent#on as some would ha"e #t( I told h#m how #t rem#nded me of an 7#ma&#nar!8 student I had 'nown #n m! f#rst !ear at Un#"ers#t!) also called S#mon( 7 he real S#mon was a student(8 +e had two l#n&ers that were hea"#l! we$$ed after some horr#f#c $#rth defect( I lau&hed and sa#d how he would use the anomal! to &et prett! &#rls #nto $ed( l#e would s#t them down and &et #nto con"ersat#on) and tal' to them a$out ha"#n& $a$#es and mother#n&( I ment#oned to the real S#mon how he would el#c#t #n them ,mother#n& states $! choos#n& h#s words carefull! and then would anchor the state to the #dea of hands( hed tal' of $a$#es hands) of t#n! f#n&ers &rasp#n& adult ones) and so on( +e would tell them of h#s own mother) and of the pro$lems she met dur#n& pre&nanc!) and he would do so #n such a wa! that aroused the#r s!mpath! ar#d fem#n#ne propens#t#es e"en more( hen) at the r#&ht moment) he would show h#s hand) and the &#rl #n -uest#on would see #t) $! now) #n the wa! he des#red( I spo'e of how #t $ecame a powerful seduct#"e techn#-ue) and how he had se"eral of the ru&$!-pla!#n& lads fa'#n& l#ttle we#rd th#n&s on themsel"es to tr! and ach#e"e the same success(
Now) I was ma'#n& #t all up) and whether or not the techn#-ues I was sa!#n& that th#s #ma&#nar! S#mon used would alwa!s rel#a$l! wor' was #rrele"ant( he po#nt was to re"erse th#s chaps presumpt#on that h#s m#ss#n& dem#-f#n&er was a $#& m#nus po#nt when #t came to athact#n& the oppos#te &en#tal &roup( And #t wor'ed( I spo'e to h#m a$out #t a few wee's later and he told me that the stor! I had told a$out m! fr#end had made h#m see #t #n a whole new l#&ht( I acted) of course) surpr#sed( he #nter"ent#on was effect#"e $ecause I allowed h#m to ma'e the connect#ons for h#mself( In a ma&#cal presentat#on) a s#m#lar process w#ll occur( here #s a fondness for metaphor amon&st ma&#c#ans concerned w#th ser#ous presentat#ons for ma&#c* Bur&er and Neales $oo' :agic and :eaning tal's much a$out th#s( +owe"er) as I ha"e sa#d) a ma&#cal rout#ne m#&ht $e loaded w#th metaphor and mean "er! l#ttle to an!$od!( #f one #s to use th#s t!pe of structure) one must $e&#n w#th an #dea that w#ll connect w#th the spectators and $e appropr#ate for performance* #(e( #t must $e a$sor$#n& and ma&#cal( In the r#n& effect) the r#n& mo"es as a "#sual metaphor for the #ma&#nar! processes of the spectator( As she steps $ac' #nto a lo"el! memor! and learns to recreate that leel#n& and #n do#n& so attach #t to the r#n& as a powerful tr#&&er) the r#n& acts the whole th#n& out #n s!mpath!( 6:our heart soars and !our sp#r#t r#ses= #s a metaphor8 and the r#n& car#es out the act#on #n real#t!(
9or a wh#le) I used a s#m#lar process w#th the O#l and 5ater rout#ne that I ha"e referred to $efore( It #s a &reat rout#ne) and I "er! much sa! so m!self) $ut l#'e the ,Am$#t#ous Card) #t has no mean#n& $e!ond a d#spla! of s'#ll and tr#c'er!( So I used the follow#n& #dea( I as'ed #f an!one had heard of the inatsu! 2 e.pla#ned that #n ma&#c) as one mo"es awa! 6from the s2e#&htDo#-hand end of th#n&s= to 6what ma&#cs reall! a$out)= one w#ll often learn a lot of mart#al arts s'#lls #n the process( If !ou sa! th#s w#th a stra#&ht face after a $unch of m#rtd-read#n& and watch-stopp#n& effects) the! w#ll $el#e"e !ou( he matsu #s the process that the mart#al art#st &oes throu&h to put h#mself #n a calm and $alanced state) w#th the confus#on of the da! washed out of h#m( A "er! useful th#n& to $e a$le to do) I "entured) and there would alwa!s $e a&reement from the &roup( he tr#c' would $e&#n to form* I would taK a$out how confus#on #s a p#l#n& up of d#fferent #deas((( D,s I dealt reds and $lac's #nto an alternat#n&) face-up p#le( hen I would tal' a$out how the art#sts would create the#r state) and how #n that state) noth#n& appears to $e confused((( and the cards would now ha"e separated( h#s t#me the spectators would do #t* I would ha"e the pr#nc#pal spectator alternate the cards and ta'e four #n each hand( hen she would close her e!es and enter a rela.ed state throu&h m! su&&est#on( Upon open#n& her e!es) she would $e hold#n& all the reds #n one hand and the $lac's #n the other( 9or a f#nale) I would m#. the cards) ha"e her enter the state w#th her e!es open) and separate the cards face-down as she felt appropr#ate #nto two p#les( Upon chec'#n&) she would ha"e perfectl! separated the colours( 9or a f#nale) the! would spr#n& $ac' toðer #nto alternat#n& order) wh#ch had alwa!s $een m! cl#ma.( It d#dnt s#t well w#th the stor! $ut was a real punch of an end#n&( h#s $othered me) $ut the real #ssue was that I found the stor! too s#c'l!- sweet( 5hat wor'ed well w#th the r#n& was too much for an ,O#l and 5ater( +owe"er) #f !ou are more &#"en to such th#n&s) !ou ma! w#sh to cons#der the #dea( he conte.t I now use to present the effect #s as follows* I e.pla#n that I ha"e $een a ma&#c#an for ten !ears or so and learnt $! sett#n& m!self challen&es and pract#s#n& unt#l I could ach#e"e them #n"#s#$l!(
At that a&e) I cont#nue) I $el#e"ed #t to $e a$out sle#&ht-of-hand and dece#"#n& the e!e) and #t too'
me man! !ears to real#se that that was not what ma&#c #s reall! a$out( But one of the f#rst tests I set m!self was as follows* I remo"e four red and four $lac' cards and ha"e a spectator place them #n a face-up p#le so that the colours alternate( +e ta'es half the p#le #n each hand) and I place m! hands o"er h#s( I e.pla#n that m! tas' #s to separate the colours #n h#s hands w#thout h#m feel#n& a th#n&( I as' h#m to choose wh#ch colour he would l#'e to rema#n #n each hand( 6Ser#ousl!) th#s Ca'es a$out three !ears to do perfectl!)= I add) and &#"e h#s hands a &entle s-ueeAe( he cards are shown to ha"e separated( 6After some !ears I came to real#se that ma&#c had to $ecome someth#n& #ntu#t#"e rather than ph!s#cal((( so let me show !ou what !ou can ach#e"e w#thout an! sle#&ht-of-hand 'nowled&e(= 2 offer h#m the chance $! someth#n& herself) as I shuffle the cards( I place them #n a face-down row and ha"e h#m pull out all the ones he feels are of the same colour( +e does so) and the results are perfect( +e ta'es the p#les of $oth colours and I ha"e h#m place them toðer for a moment((( and #n an #nstant the! reassem$le #nto the#r or#&#nal alternated pos#t#on #n h#m hands( B#& f#n#sh( h#s #s far more l#&ht-hearted) and carr#es w#th #t a sl#&htl! d#sarm#n& messa&e that !es) sle#&ht-ofhand e.#sts) $ut no matter how well #ts done) #ts not what ma&#cs reall! a$out) and that what I w#ll $e do#n& cannot $e e.pla#ned $! such th#n&s( Its st#ll a card tr#c') and I dont "er! often perform #t for #t st#ll str#'es me as cold( But #t now has a lot more #nterest to #t than ru$$#sh a$out the colours ha"#n& d#fferent we#&hts( here #s noth#n& charm#n&l! wh#ms#cal a$out the we#&ht of pr#nt#n& #n') and someth#n& def#n#tel! patron#s#n& a$out sell#n& that #dea to !our aud#ence( A&a#n) that em$arrassed nod towards the not#on of cause( hats not what ma&#cal suspens#on of
d#s$el#ef #s a$out( Such nonsense as's for a willed suspens#on) rather than $!pass#n& cr#t#cal facult#es and $e#n& d#rectl! affect#n&( h#s #mpro"ed handl#n& #s no lon&er a metaphor#cal one( he rnatsu presentat#on was) $ut #t was flawed and cluttered) and rather tr#te for m! tastes( Both deal w#th the #ssue of cause) and the #ssue of ,how #s a$undantl! co"ered( In the new ,O#l and 5ater) howe"er) the openendedness of the answer to ,how #s des#&ned to &entl! challen&e the spectators #deas as to how ma&#c #s ach#e"ed( It would wor' #f performed pr#or to a metaphor#cal p#ece such as the r#n& le"#tat#on) $ut would $e cr#ppl#n& #f performed afterwards* once th#s O#l ar#d 5ater has ta'en people $e!ond the e.pectat#on of mere sle#&ht-of- hand tr#c'er!) the spectators ha"e $een prepared for more resonant p#eces( o return to the theme of sle#&ht-of-hand 7#f onl! to refute #t8 after a stron&er metaphor#cal p#ece would $e horrendous( Placed in the correct order) the rout#nes that ma'e up the set can carr! the spectators to a h#&her le"el of apprec#at#on) wh#ch &#"es some po#nt to the#r %ourne!(
;ather than $e&#nn#n& w#th a metaphor) I often f#nd that a pleas#n& #ma&e forms and turns #n m! m#nd
and an effect #s $u#lt from th#s ent#rel! aesthet#c start#n& po#nt( In Pure Effect I &#"e deta#ls for the 9#&aro ransfer( h#s #s a s#mple) almost-at-f#n&ert#ps transfer of a card from the r#&ht hand to the left wh#ch e.chan&es the card s#multaneousl!( he cards rema#n $ac's towards the aud#ence) not parallel to the ta$le* therefore a cont#nuous clear "#ew of the ,card #s offered throu&hout( 5hen I f#rst pla!ed w#th th#s mo"e to see where #t would ta'e me) I saw an opportun#t! for a "er! clean torn-and- restored effect( A p#cture card would $e s#&ned) and as $oth hands approached each other to tear the card 7'ept face towards the aud#ence8 the transfer mo"e would $e made a spl#t second $efore the tear( he palmed select#on in the r#&ht could $e reta#ned) and the dupl#cate torn( he card could then $e restored #n whate"er wa! m#&ht appeaC After the restorat#on) I had the sw#tched-out p#eces lapped( It occurred to me that #f I palmed the p#eces #n m! left hand as the restored card was d#spla!ed #n the r#&ht) I could repeat the same e.chan&e mo"ement as I $rou&ht m! hands toðer for a moment) snapp#n& the card #nto enlca# #n the r#&ht hand 7thus "an#sh#n& #t8 and releas#n& the p#eces s#multaneousl! from the left( he effect would $e that the restored card could not hold #tself and had separated a&a#n- I showed th#s to a few fr#ends) and the consensus was that the #llus#on was utterl! con"#nc#n& As the p#eces fluttered to the ta$le) the e!es dropped from the hand that palmed the card to the ta$le) and I rela.ed $ac') lapp#n& the card as I $lew the p#eces #nto the a#r( here was no dou$t that #t wor'ed) $ut I had no #nterest #n perform#n& a torn and restored effect( I d#sl#'e an!one e"en s#&n#n& m! pla!#n& cards) as I l#'e to &#"e them a sense of #mportance #n performance( he act of tear#n& the card #s someth#n& I f#nd u&l!( and restorat#ons uncon"#nc#n&( But the transformat#onE It was $eaut#ful( 3"entuall! I h#t upon the #dea of rose petals( I could hold a card at f#n&ert#ps and ha"e #t d#ssol"e #nto $eaut#ful $lood-red rose petals( 9ar more $eaut#ful( 5h! would a card chan&e #nto petals@ It clearl! had to $e the cl#ma. of an effect) so somehow the not#on of a rose had to creep #nto the presentat#on( A s#mple enou&h #dea would $e to ha"e a card selected) wh#ch would transform #n th#s wa! and ,reDappear $! means of a dupl#cate #n the floral centrep#ece on the ta$le( he #dea of st#c'#n& a card #n such an arran&ement w#thout $e#n& seen appealed) $ut as these th#n&s are r#&ht #n the centre of the ta$le) #t seemed d#ff#cult at $est( 9ar more $eaut#ful) I thou&ht) to #ncorporate the metaphor#cal #dea and ha"e the rose as a mental #ma&e) wh#ch $ecomes real at the end( I returned to the effect ,Qam#els Card) &#"en #n the same "olume) and chan&ed the word#n&( he rout#ne #s now as follows* A dec' of cards #s spread on the ta$le from the last effect( 62 f#rst $e&an e.per#ment#n& w#th ma&#c at the a&e of s#.) when I saw a street-performer do someth#n& that we would pro$a$l! d#sm#ss nowada!s as tr#te* he produced a rose out of th#n a#r and handed #t to a lad!( As a sens#t#"e ch#ld) I thou&ht th#s the most $eaut#ful th#n& #ma&#na$le( I pract#sed for wee's to ach#e"e the same effect)
ha"#n& #t #n m#nd to woo m! sweetheart at school) the then /e$$#e Boon) almost ten and someth#n& of a fo.( I pract#sed pull#n& a rose from m! slee"e) for I had $een told how #t was done) determ#ned to &et #t %ust r#&ht $efore approach#n& her) 3"entuall! the da! came and 2 was read!((( I found her on the pla!&round and wh#pped the d#she"elled flower from m! slee"e( horns cau&ht m! wr#st) and petals fell to the floor) and she turned $ac' to her fr#ends and lau&hed( I dropped the rose and ran awa!) and cr#ed under the cl#m$#n& frames unt#l 3n&l#sh( It wasnt unt#l after school that she came and found me) clutch#n& the petals #n her hand) and &a"e me a lar&e '#ss full on the l#ps( 6And thats how #t $e&an( Of course at that a&e I d#dnt reall! 'now what a dec' of cards cons#sted of 7I loo' at the spread cards and &ather them up8) all I had was the #ma&#nat#on of a s#.-!ear old 7we loo' a&a#n and the cards ha"e "an#shed( B#& &asp from the aud#ence(8
46 64 4
6So can I as' !ou to th#n' of one card that !ou can see@= )% fart the #ma&#nar! dec' for a mental select#on8( 6 han' !ou( Now perhaps !ou would cut the dec' a few t#mes and I shall at-tempt to f#nd !our card(= 7I reach o"er to the #ma&#nar! dec' and remo"e a real card from the top) $ac' towards the aud#ence( I loo' at #t) pass #t to m! left hand 7e.ecut#n& the 9#&aro ransfer8 and place #t #n m! poc'et( I reach o"er and pull off another( And another) and a whole ser#es of cards &o#n& one at a t#me #nto m! poc'et( 3"entuall! I stop on one card) wh#ch I hold face towards me(8 65hat was the card !ou had #n m#nd@= JThe Two of /eart'!The wo of +earts two hearts % suppose((( the dass#c card of lo"e(= 7I turn the card around( It can $e seen to $e the correct card for a moment) $ut then d#ssol"es #nto rose petals) wh#ch are $lown across the ta$le(8
4
It #s a sweet rout#ne) and a&a#n) the #mpact of the f#nale #s drawn from an emot#onal mean#n&) wh#ch the aud#ence f#nds for #tseff( he cause of the transformat#on #s clear at a s!m$ol#c le"el) and spea's for #tself w#thout need#n& to $e spelt out( here cart $e no formula for creat#n& a l#ttle artwor') and #t would $e r#d#culous to tr! and &#"e one) e"en thou&h I am sett#n& out th#s model as I see #t( hut one th#n& #s clear to me* #n the same wa! that we learn to mo"e awa! from start#n& the creat#"e process #n ma&#c w#th -uest#ons of method and to $e&#n w#th effect) so too we should learn to mo"e $e!ond the local effect and allow oursel"es to somet#mes $e&#n w#th someth#n& more a$stract) more feel#n&-$ased( 5here th#s leads to the not#on of a spec#f#c effect) that effect w#ll encompass a w#der "#s#on and commun#cate someth#n& more resonant than the tr#c' #tself) wh#ch #s our a#m(
O$ course #nsp#rat#on w#ll come from all -uarters) and somet#mes #t w#ll $e a neat new mo"e or a
-uest#on of method wh#ch mo"es us( But #f we cannot then loo' deeper than those) then we w#ll present) at $est) ele&antl! performed tr#c's( hese ha"e the#r place) and add te.ture to rout#nes) $ut ### m! m#nd the! do not ent#rel! suff#ce(
here are no formulas $ecause an!th#n& that -ual#f#es as art must $e created from scratch( All we can do #s tra#n our sens#t#"#t#es) much l#'e an actor de"elops h#s emot#onal a$#l#t#es or a &ourmet h#s palate( 5#th th#s sens#t#"#t! to drama) to mean#n&) to structure) $eaut! and the #ssue of cause) we can then draw #nsp#rat#on from an!where( And of course we spend a l#fet#me de"elop#n& that a$#l#t!( he part#cular wa! that these a$stract not#ons come toðer for us md#"#duall! and what we re%ect or #ns#st on as ha"#n& #mportance w#ll shape our #nd#"#dual "#s#on) and therefore the wa! that we des#&n our rout#nes(
4 4
An!$od! who performs should lo"e the art #n h#mself) and $e "er! war! of lo"#n& h#mself #n the art( he d#fference #s clear when we watch a performer who clearl! th#n's hes &reat $ut has no
connect#on w#th the aud#ence( here are plent! of them) and man! th#n' the! perform ma&#c( One pro$lem w#th ma&#c #s that too often) people are pol#te #n the#r responses) and we th#n' we are &ett#n& awa! w#th methods when we s#mpl! are not( I hope !ou ha"e had the e.per#ence of o"erhear#n& a spectator correctl! &uess e.actl! the method !ou used to ach#e"e an effect that !ou ha"e honed and wor'ed on for !ears( In such s#tuat#ons !ou wonder how often th#s happens and !ou sImpl! dont hear( But there are enou&h dreadful ma&#c#ans around for us to 'now how eas! #t #s to perform ma&#c $adl! and not &et an! feed$ac'( 5here) after all) could that feed$ac' come from@ Not from the pu$l#c) who would #n most cases pretend to $e fooled out of sheer p#t!( Not from other ma&#c#ans) who w#ll $e &enerall! unl#'el! to $e a$le to offer a la!mans react#on( 9or an art that rel#es ent#rel! on the e.per#ences of the spectators) #t #s remar'a$l! d#ff#cult to f#nd out what those e.per#ences are 5e cannot f#n#sh an effect and then #mmed#atel! ha"e the aud#ence d#ssect the#r e.per#ence of #t to pro"#de us w#th useful #nformat#on( :et that #s e.actl! what we need( he onl! answer #s to see' cr#t#c#sm hum$l! and &reed#l!( h#s can $e done w#thout comprom#s#n& !our "#s#on( :et somet#mes the e.per#ences of !our aud#ences would surpr#se !ou) #f onl! !ou 'new them( 5hen I heard that a spectator #n m! restaurant found #t "a&uel! d#stasteful that I placed m! foot on the ta$le and had her remo"e her r#n& from m! soc') I was em$arrassed $! how o$"#ousl! #nappropr#ate $eha"#our that had $een( :et I pro$a$l! would ha"e cont#nued) for the re"elat#on of the r#n& was a "er! &ood one for all sorts of other reasons(
%$ !ou f#nd !ourself automat#call! defend#n& a rout#ne when #t #s cr#t#c#sed) then I $el#e"e !ou stop
mo"#n& forward( h#s does not mean that !ou ha"e to accept e"er! cr#t#c#sm and adapt accord#n&l!> for then !ou would $e a poor art#st #ndeed( Instead) !ou must learn how to react to cr#t#c#sm #n a product#"e wa!* and th#s #s a s'#ll that e.tends far past performance #nto l#fe( he $ad effem#nate actor ment#oned earl#er would ha"e ta'en cr#t#c#sm #mposs#$l! personall!) $ecause the react#ons that he &ets from perform#n& &#"e h#m a sense of who he #s( +e needs the react#on of a crowd to feel worthwh#le) Insecur#t! amon&st performers #s not uncommon) $ut #f #t h#nders !our art 7rather than causes !ou to pursue #t relentlessl!8 then #t can onl! $e detr#mental( +#s focus was ent#rel! upon h#mself) and therefore an! #ssues or -uest#ons ar#s#n& #nstantl! $ecame personal( +owe"er) where !our focus #s on the de"elopment of the art w#th#n !ourself) or on the &rowth of the performance p#ece as a separate th#n& from !ou) then there #s no personal threat #n"ol"ed #n cr#t#c#sm( Paul /an#els once sa#d to me 6If cr#t#c#sm #s construct#"e) l#sten to #t( %$ #ts not) #&nore #t(= hat) and someth#n& a$out name-dropp#n&( h#s #s an eas! slo&an) $ut I am unsure of #t( If were to attract a lot of personal) unconstructi e cr#t#c#sm from people who had seem m! performance) #t would do me well to l#sten to #t and tr! and &et $eh#nd the #nsults to see what was &o#n& wron&( Often people are %ust rude) $ut the#r reasons for $e#n& so ma! $e of rele"ance( People who can ta'e cr#t#c#sm well s#mpl! stand $ac' from whate"er #s sa#d) and th#n' #n d#ssoc#ated terms as the! run the #nformat#on throu&h #n the#r m#nds( hose who &et upset and cannot deal w#th #t) and therefore ne"er learn) turn cr#t#c#sm #nto a personal #ssue the moment that the! hear #t(
+ere #s a s#mple e.erc#se) #f !ou feel that !ou f#nd cr#t#c#sm d#ff#cult to deal w#th( h#n' $ac' to the last t#me !ou were told someth#n& that would count as cr#t#cal) and wh#ch upset !ou( +ear the
words $e#n& sa#d to !ou 7presum#n& that the! were spo'en8 and see what the! tr#&&er( Generall! the! w#ll tr#&&er a feel#n& and mental #ma&es) and a need to f#&ht $ac' w#th someth#n&( Now real#se that #n order to $e the $est !ou can $e) !ou w#ll somet#mes need an outs#ders perspect#"e on how !our l#fe or performance loo's( Somet#mes th#s can $e of #mmense "alue) and #t #s certa#nl! "er! useful as re&ards ma&#c( h#n' $ac' a&a#n to the cr#t#c#sm) $ut #nstead of hear#n& #t $e#n& sa#d at !ou) #ma&#ne a f#lm of the #nc#dent that shows $oth !ou and the cr#t#c #n con"ersat#on) or howe"er the #nc#dent happened( See th#s mental f#lm #n $lac' and wh#te) on a small screen at arms len&th( h#s #s the oppos#te of the wa! !ou would represent memor#es of th#n&s that mo"e or upset !ou( o react emot#onall! to someth#n&) !ou ha"e to represent #t #n an associated manner* #(e( as !ou e.per#enced #t at the time! By see#n& !ourself #n the p#cture and runn#n& #t from a th#rd-person perspect#"e) !ou l#terall! &a#n distance from the #nc#dent and a more detached perspecti e from #t( Now see the "ers#on of !ou #n the p#cture mull#n& o"er the cr#t#c#sm offered( See h#m ma'e h#s own detached m#nd-f#lm #n the same wa!) a f#lm #n wh#ch he sees h#s $eha"#our from the po#nt of "#ew of the cr#t#c) and ascerta#ns whether the cr#t#c#sm would ha"e $een reasona$le to that cr#t#c at that tune! Cet that "ers#on of !ou dec#de whether or not chan&e would $e worthwh#le* let h#m run f#lms that show d#fferent wa!s of $eha"#n&) and see #f an! could wor' $etter( h#s wa! of th#n'#n& #s a$solutel! "#tal( If some$od! cr#t#c#ses !our performance) !ou n*ust #nstantl! $e a$le to see the performance from a detached perspect#"e) ascerta#n wh! the cr#t#c#sm m#&ht ha"e $een felt) and what) #f an!th#n&) could $e done to chan&e th#n&s for the $etter( h#s #s not to comprom#se our "#s#on) #t #s to help us reach #t( As a performer) !ou should see cr#t#c#sm as a pos#t#"e th#n&( Clearl! !ou want #t from people whom !ou respect) and people who understand what !ou are tr!#n& to ach#e"e( As lon& as !ou 'now what !ou are tr!#n& to ach#e"e) !ou w#ll) $! pract#s#n& th#s detachment) see whether !ou are &ett#n& closer to !our &oals or not( /ecent) #ntell#&ent cr#t#c#sm #s pure &old to us* "alue #t h#&hl! and see' #t out where !ou can(
and l#m#ts her understand#n& of herself to an ar$#trar! "#s#on #mposed $! the man#pulator( Surel! #t would $e anathema to us as art#sts of wonder to cause her to see her l#m#ts rather than transcend them(
M! concern here #s the pract#ce of cold-read#n&( Mental#sts pr#de themsel"es on the#r s'#lls #n th#s area and often preach #ts eff#cac! w#th an e"an&el#cal fer"our( It seems accepta$le for a h#red enterta#ner to s#t someone down and ma'e personal statements that are seduct#"e and $el#e"a$le to the credulous) or at worst e"en offer messa&es of reassurance from lo"ed ones $e!ond the &ra"e( I 'now of one mental#st who) wh#le m#n&l#n& at an e"ent) too' #t upon h#mself to offer a messa&e of lo"e from a m#scarr#ed $a$! to a st#ll- &r#e"#n& woman( +#s defence was that she found the words comfort#n&( I am unsure what sort of person would comforta$l! offer such a messa&e) let alone when wor'#n& outs#de of a therapeut#c en"#ronment( But e"en w#thout s#n'#n& to those depths) #t #s undou$tedl! common pract#ce for menta(l#sts to pla! on the common #nsecur#t#es from wh#ch most people suffer( Im th#n'#n& of statements l#'e) 6:ou en%o! compan! and l#'e to present -u#te a tou&h e.ter#or) and one wh#ch people respect !ou for( ;ut when !ou come awa! from such &ather#n&s !ou tend to repla! con"ersat#ons #n !our head) wonder#n& what #mpress#on !ou made on people and what so-and-so meant when he made a certa#n comment( h#s sens#t#"#t! and worr! #s #n contrast to the la#d-$ac' and secure "eneer that !ou present( :ou 'now when !oure %ust putt#n& on a show of conf#dence) and how shallow #t can $e(= Surel! th#s #s a fantast#call! unpleasant th#n& to sa! to an!one( rue) man! cold-readers sa! onl! $r#ef and flatter#n& th#n&s) $ut how con"#nc#n& are the!@ Iron#call!) unless !ou are supposedl! unco"er#n& the #nsecur#t#es of the s#tter) !ou w#ll not &#"e the #mpress#on of 'now#n& her at all(
Now) the #deas $eh#nd cold-read#n& do fasc#nate me) and I 'now from ha"#n& pract#sed #t #n the past that I am &ood at #t( here #s no dou$t#n& the stren&th of #ts effect when it #s done well( I now feel that I ha"e arr#"ed at a solut#on to m! d#lemma that allows me to produce the powerful #llus#on that cold-read#n& offers $ut w#thout a h#nt of the unpleasantness that #s #n the "er! roots of the common "ar#et!( It $e&an a wh#le $ac' #n the loun&e-$ar of B!Aant#um ;estaurant #n Br#stol) where I ha"e m! res#denc!( I had as'ed a spectator to call a fr#end and ha"e h#m name a pla!#n& card( I had a card face-down on the ta$le and #t was m! tas' to man#pulate the fr#end) throu&h the phras#n& of the spectators #nstruct#ons) #nto choos#n& that "er! one( But #n $etween the term#nat#on of the telephone call) and m! tell#n& the spectator to turn o"er the card) I paused to &#"e a descr#pt#on of the fr#end %ust called( I $e&an w#th a few "a&ue statements) $ut as the! $e&an to h#t) I 'ept &o#n&( It made the ent#re effect &enu#nel! astound#n&) and the f#nal re"elat#on of the card m#raculous( he spectator #n the restaurant was a wh#te male a&ed #n h#s m#d- twent#es) w#th shoulder-len&th dar' ha#r( +e was dressed casuall! and wore sandals) and I could see that he smo'ed roll-ups( 5hen he called h#s fr#end) h#s open#n& words were) 6+# Berne) #ts Chr#s(= 5hen 2 $e&an to &#"e #nstruct#ons) I told Chr#s not to &#"e me an! clues a$out h#s fr#end> #n part#cular not to sa! h#s name 7o$"#ousl! he alread! had $ut I 'new that would pass as for&otten8(
4
I &a"e the follow#n& descr#pt#on) after Chr#s had hun& up the ,phone> JEow let me &et an #ma&e of !our fr#end #n m! m#nd( Im see#n& a male) #n h#s m#d-twent#es(() #n fact -u#te a &ood fr#end of !ours( :ou ha"e 'nown h#m for a few !ears((( $ut he has mo"ed awa!
recentl! and !ou dont see h#m as often( +e l#"es #n B#rm#n&ham now) I $el#e"e( I h#s was correct) and pro"o'ed some #nterest( I $ased th#s onl! on the fact that I had seen the fr#ends num$er come up on h#s mo$#le ,phone and reco&n#sed the d#all#n& code(< +e has ha#r l#&hter than !ours $ut shorter) and #s mus#call! #ncl#ned( +e pla!s the &u#tar) thou&h he has also da$$led w#th 'e!$oard and electron#c mus#c( +e also has part#cular not#ons a$out sp#r#tual#t!) or at least selfawareness) wh#ch !ou '#nd of share II was &enerall! descr#$#n& m! #mpress#ons of Chr#s here and watch#n& for pos#t#"e react#ons%( :ou two tal' a lot a$out women and relat#onsh#ps( Ah) now he comes from) I th#n') a fa#rl! wealth! fam#l!) #s that r#&ht@ I he name ,Berne) short for ,Bernon) certa#nl! has class assoc#at#ons) h#s was correct) wh#ch &a"e me more cluesH( +e #s) howe"er) "er! c!n#cal a$out h#s parents) and has spo'en to !ou at len&th a$out that( Nu#te stron& pol#t#cal "#ews too( Im &ett#n& a name) an odd one) $e&#ns w#th a ,B(( ,B#ctor@ ,Bernon@ 7I used the full name so that #t wouldnt sound too fam#l#ar8(((= And so on( Afterwards) I reflected upon what had happened( he $r#ef ,read#n& secured me a $oo'#n& there and then % was #n"#ted to perform at Chr#s $#rthda! part! the ne.t wee'( Berne) #nterest#n&l! was there( I was #n a d#lemma* I d#d not l#'e cold- read#n& !et had not felt $ad &#"#n& that one( he response #t &ot made me want to wor' more fre-uentl! w#th th#s tool) !et I usuall! felt a &enu#ne d#staste for #t(
4
he answer) of course) $ecame clear( h#s read#n& had not concerned the spectator( It had not $een a$out Chr#s( It d#d not l#m#t Chr#s percept#on of h#mself and ma'e h#m "#ew h#s l#fe accord#n& to m! ar$#trar! "#s#on( It was a$out someone else) and had all the stren&th of a &ood read#n& w#thout the moral pro$lems that $othered me(
S#m#larl!) the cold-read#n& techn#-ue can $e appl#ed to s#tuat#ons and #nc#dents w#thout caus#n& the '#nd of moral d#ff#cult#es wh#ch would otherw#se concern me( 9or e.ample) I was recentl! demonstrat#n& m#nd-read#n& at a presentat#on &#"en $! an ad"ert#s#n& compan! #n Sw#ndon( 79or Amer#can readers who ma! not 'now Sw#ndon) #t #s a $eaut#ful old rural 3n&l#sh p#ece of parad#se and well worth a "#s#t #f !ou come to 3n&land( It #s 'ept secret) so !ou w#ll not f#nd #t #n all the tour#st! tra"el &u#des* %ust &et on a tra#n and &o(8 he chap ne.t to me) one of the ad"ert#s#n& &roup who had h#red me) opened h#s d#ar! to wr#te someth#n& #n #t( I saw that he had mar'ed a&a#nst the follow#n& uesda!) 6/ental Appt(= and underneath that had wr#tten the name 7one /r( Garten8 and full address and telephone num$er of the sur&er!( hat was all the #nformat#on I had) $ut later on was a$le to &#"e -u#te an e.pans#"e read#n& $ased on the &l#mpsed #nformat#on* 6N#c') I was loo'#n& at !ou earl#er on) and I saw th#s sounds odd a garden #n !our mouth( II was lea"#n& h#m to f#nd the connect#on w#th the dent#sts nameH I dont 'now what that means( I thou&ht a$out #t and I feel that !our teeth are call#n(& out( I see !ou "#s#t#n& a dent#st a spec#al#st #n some area) $ut #ts not a ma%or %o$ l#'e a root canal( I+e had wr#tten ,/ental Appt() not whate"er the sur&er! was to ach#e"e( I #ma&#ne that #f #t was for root canal wor') !ou wouldnt wr#te someth#n& as $land as ,Appt(H h#s #s a new dent#st) not one !ou"e seen $efore Ihe had wr#tten the address* wh! would he #f he 'new the place@H and #ts not near where !ou l#"e) #ts a $#t of a %ourne!( I+e had wr#tten the area code alon& w#th the rest of the telephone num$er) wh#ch a&a#n would ha"e $een unnecessar! #f #t had $een a local sur&er!l( :oure not part#cularl! $othered a$out &o#n&) wh#ch #s &ood !ou dont &et ner"ous l#'e some people( I+e had wr#tten #n lar&e) conf#dent handwr#t#n&) wh#ch) w#thout &ett#n& #nto the nonsenses of &rapholo&!) d#dnt su&&est to me apprehens#on a$out the appo#ntment(H=
4 4 4 4
All I could sa! was) JDiary. I swear to God I d#d not see !our d#ar!(= 9urther e.amples come from a rout#ne I perform where I ha"e a person th#n' of a ch#ldhood memor!( h#s can $e re"ealed and ela$orated on throu&h a m#.ture of cold-read#n& and $#llet or pm- show techn#-ue( h#s rout#ne part#cularl! &ood for us#n& th#s form of read#n&(( I,he last t#me I performed th#s rout#ne) #t was for a student at a part!) and the &l#mpsed #nformat#on read( 6Pecan p#e at the colla&e(= :ou m#&ht want to &#"e !ourself a moment to see what !ou can deduce from that $r#ef phrase( M! read#n& went as follows* 6Now) p#cture #n !our m#nd the scene) whate"er #t #s( IPause(((H Oh) thats #nterest#n&( Its a l#ttle older than people usuall! choose* th#s #s a memor! from se"en or e#&ht) #s that r#&ht@ IShe was e#&ht( After all) !ou wouldnt want to eat pecan p#e much !oun&er than that(H And theres !ou) and((( some other '#ds@ h#s #s a &roup t!ing, #snt #t@ I5ell) pecan p#e ta'es some effort) so I &uessed that thered $e a few people there(H And) oh) thats odd() !oure at home) $ut youre not at home! 5hat does that mean@ BThe cotta&e) note( Ne#ther 5randmas nor an!one elses( It had to $e the#rs) and #t had to $e a hol#da! homel I see Summer outs#de) and plent! of &reener!( Ma!$e some water close $!) $ut def#n#tel! woodland( And th#s #s somewhere that !ou re&ularl! "#s#ted w#th !our fam#l!( Alt(( #ts a treat) #snt #t( Someth#n& !our mother made((( shes "er! creat#"e) as are !ou* thats someth#n& !ou"e p#c'ed up from her( :ou dont stud! 3n&l#sh) do !ou@ IA &am$le) $ut she loo'ed the t!pe( And m! phras#n& of the -uest#on would ha"e &#"en me a wa! out( But I was r#&htH( She #s an e.cellent coo'( Ah) #s th#s someth#n& to do w#th coo'#n&@ Is #t a tast! treat@ :ou all used to &et toðer and ha"e th#s) and #t was someth#n& of a Summer treat #n th#s lo"el! place( 5hat was #t@= I d#dnt ment#on ,pecan p#e) and I d#dnt e"er sa! ,cotta&e( In fact) I as'ed her to tell me what the treat was( In m! m#nd) I was see#n& her p#cture( ;ather that descr#$e what she had wr#tten) I $e&an to descr#$e the p#cture that she was see#n&* wh#ch was far more #mpress#"e( She was "#s#$l! sha'#n& and reall! frea'ed out $! th#s p#ece of m#nd-read#n&( I dont th#n' I could ha"e performed an!th#n& stron&er) and the stren&th came from ma'#n& certa#n deduct#ons from a small p#ece of #nformat#on( Perform#n& the same rout#ne another t#me) for another chap #n h#s twent#es) the #nformat#on read) ,Pla!#n& &u#tar(= Not much upon wh#ch to ela$orate there perhaps) $ut a&a#n I #n"#te !ou to see what !ou would ha"e made of #t( l want !ou to "#suat#se the memor! for me( IPause(((8 thats a d#ff#cult p#cture to see) $ecause !oure loo'#n& down at someth#n& -u#te close to !ou* theres not much to p#c' up on( Sh#ft !our "#ew so that !ou cart see !ourself #n whate"er the s#tuat#on #s( IPause(((H Ah) thats $etter( Oh) thats #nterest#n&* I sa#d to choose a ch#ldhood memor! $ut !ou"e &one for someth#n& a l#ttle older* I can see !ou a&ed e#&ht or n#ne( I+e reacts "er! stron&l! to th#s( #e was #ndeed n#ne !ears oldH( :es) thats "er! clear( Now th#s #s a part#cular act#"#t!) as opposed to someth#n& more &eneral l#'e a hol#da!( In fact th#s #s someth#n& that when !ou were do#n& #t at that a&e) !ou had am$#t#ons wh#ch ha"e st#l< not $een fulf#lled( 7If he #s th#n'#n& of &u#tar pla!#n& as a memoiy, then I cart safel! assume that he no lon&er pla!s( h#s &#"es me some scope(< h#s #s someth#n& that !ou cont#nued w#th for a wh#le) and !our #nterest pea'ed around a&e s#.teenJse"enteen(( Correct@ IAnother $#& react#onH And then !ou stopped( Now) Im see#n& !ou well) e#ther as an onl! ch#ld) or one w#th a $#& a&e d#fference $etween !ou and !our((( Ihe has not reacted to ,onl! ch#ld so I'eep &o#n&H((( $rother@ Is #t a $rother@ :es) at least two or three !ears d#fference((( 7I am conf#dentl! $ac'trac'#n& on the a&e d#fference $ecause he was clearl! wonder#n& a$out whether #t was that lar&e( But th#s was &o#n& nowhere( I was #ma&#n#n& a '#d s#tt#n& #n h#s room pla!#n& &u#tar a lot) and #t su&&ested tct me someth#n& of a loner) w#th a lot of t#me to h#mselfH((( $ut th#s #s someth#n&
4
that !ou spent a lot of t#me alone w#th) and #n fact Im see#n& !ou sat on !our $ed( hats odd((( th#s ne"er reall! went out of the conf#nes of !our room) thou&h later on !ou #n"ol"ed a couple of fr#ends()) does #t #n"ol"e an! '#nd of auto-erot#c st#mulat#on@ Im &ett#n& th#s '#nd of act#on((( II m#me the strumm#n& of a &u#tar w#th m! r#&ht hand and he Iau&hsl( :es) #ts someth#n& l#'e pla!#n& a &u#tar $ut #ts not a &u#tar((( was #t a $anlo or someth#n&@ Oh) #t was a &u#tar(((= A&a#n) I am concentrat#n& on $u#ld#n& up the p#cture) not &ett#n& to the #nformat#on that I ha"e &l#mpsed( In fact) I w#ll often &et the f#nal deta#ls that correlate w#th the wr#tten #nformat#on sl#&htl! wron&( +ad #t not $een for the strumm#n& %o'e) I would ha"e pro$a$l! #dent#f#ed the memor! as 'e!$oard pla!#n&( It #s also far more con"#nc#n& than a lot of cold-read#n&) or wa!s of re"eal#n& wr#tten #nformat#on) $ecause I am &enu#nel! descr#$#n& the p#cture as #t occurs to me( I am do#n& e.adl! what I would $e do#n& #f I were actuall! &enu#ne) e.cept I ha"e a few clues to start me off(
Us#n& s#m#lar processes) I ha"e told a &#rl who wrote 6when we &ot Bouncer) our do&)= that the do& #n -uest#on was a span#el( I d#d th#s I#rst of all $! $e#n& aware of the soc#al class of the &#rl) then dropp#n& #n earl#er that she was th#n'#n& a$out the arr#"al of a fr#end at the house((( a $lond person@ +er e!es w#dened at the ment#on of a fr#end arr#"#n&) $ut she d#dnt &et an!th#n& from the ment#on of $lond ha#r( hat cut out &olden-ha#red do&s( h#rdl!) w#th a name C#'e ,Bouncer) #t was &o#n& to $e ne#ther a hu&e nor a slow do&( I made an educated &uess and was r#&ht( More recentl!) a &#rl wrote 6&o#n& awa! w#th m! patents(= As#de from th#s tell#n& me that she was an onl! ch#ld at the t#me) 7she wr#tes ,parents) not ,fam#l!8 #t d#dnt su&&est to me a fore#&n tr#p) so I started to descr#$e a summer! scene and lots of &reener!( It made sense that #t would $e the South of 3n&land) so I &uessed Cornwall( It was correct( Both &#rls frea'ed out( he react#ons are alwa!s enormous( he &#rl w#th the pecan p#e spent the ent#re few m#nutes dur#n& the read#n& w#th her hands o"er her mouth) turn#n& to her fr#ends and sa!#n&) 6+ow does he 'now@ +ow does he know. he chap w#th the &u#tar was a$solutel! stunned that I 'new that he started "laying at n#ne and &a"e up at se"enteen( I would recommend th#s t!pe of ,read#n& to an!$od! #nterested #n perform#n& powerful mental effects( I &enerall! ha"e tr#ed to &et the spectator tal'#n& a$out h#s e.per#ence of the read#n& afterwards) and the &eneral response #s one of $e#n& &enu#nel! spoo'ed( hese effects are "er! close to demonstrat#ons of ,ps!ch#c power) wh#ch I f#nd a dull and un#ma&#nat#"e l#ne to ta'e( M! reason#n& #s that the spectator w#f# &#"e me all the clues that I need) and I tell her as much( I ma'e #t clear that she #s tell#n& me e"er!th#n& I need to 'now) wh#ch #n a wa! #s true) apart from the fact that I was a step a!ead o$ !er& h#s '#nd of ,e.planat#on #s $ar more #nterest#n& than the s#mple polem#c of he real or fa'e@ Properl! handled) #t #s plaus#$le and far more #n"ol"#n& for the spectators( It tells them someth#n& a$out how human $e#n&s commun#cate) and ma'es me far more #ntr#&u#n& rather than #n"#t#n& susp#c#on(
+,-
If !ou are unsure a$out how effect#"el! !ou th#n' !ou can create the effect) the answer #s to s#mpl! see what p#cture comes most read#l! to nthd when !ou read the #nformat#on and see what !ou can deduce a$out such factors as the su$%ects a&e) en"#ronment) and the per#pherals of the s#tuat#on( Because !ou ha"e the trump card hand! to pla! that #s) !ou 'now what the memor! #s alread! !ou can afford to meander around for a l#ttle wh#le and $r#n& #t to an end #f !ou dont feel #ts &ett#n& an!where( :ou are padd#n& out and e.pand#n& on a theme) and after a wh#le th#s e.tra mater#al w#lt $ecome the rout#ne #tself) and the words on the paper #nc#dental to the effect( And a$o"e all) !ou are a$le to pract#se and e.erc#se these s'#lls w#thout o"erstepp#n& the l#nes of propr#et! and taste(
. 4
Setl#r#& the Sta&e We ha"e all had our moments as ma&#c#ans that ma'e us proud) usuall! ha"#n& someth#n& to do
w#th an aston#sh#n& co#nc#dence wor'#n& #n our fa"our( ;ecentl! I was ha"#n& d#nner w#th a fam#l! who 'new m! trade) and the eldest son) a&ed a$out n#ne) was ea&er for me to show h#m a tr#c'( In such s#tuat#ons I &enerall! allow m! $eha"#our to su&&est that the! would $e e.tremel! luc'! to see an! ma&#c from me( Not that 2 sa! those words out loud( I would ne"er ha"e d#nner w#th an!$od! #f I "o#ced such sent#ments( But I allow m! manner to su&&est #t( I fe#&n a certa#n) $ut not a dec#s#"e) reluctance( I strun& th#s '#d alon& as much as I could) #n the $ac' of m! m#nd wonder#n& what I would show) #f #ndeed an!th#n&( I had) of course) as fate decreed) for&otten the spon&e d#n&-don&) 3"entuall! I dec#ded I would wa#t unt#l dessert and then read h#s precoc#ous prepu$escent m#nd( +e was #mpressed $! the pla!#n& cards I had w#th me) so I dec#ded to use them( +ere #s what happened( B! the t#me dessert arr#"ed) th#s $o! was f#nd#n& #t d#ff#cult to suppress h#s #mpat#ence( +#s parents &entl! chast#sed h#m for cont#nuall! h#nt#n&) and each l#me the! d#d I cau&ht h#s e!e and sm#led nau&ht#l!) wh#ch onl! made h#m worse( 3"entuall!) I w#thdrew the cards from m! wa#stcoat poc'et( I loo'ed h#m r#&ht #n the e!es) then too' them out from the#r case and &a"e them a one-handed r#ffle shuffle( +e was mesmer#sed) I spread them out #n a lon&) slow r#$$on spread across the ta$le( +e had a loo' of complete ser#ousness on h#s face) wh#ch was matched $! the e.press#ons of h#s parents) who had suddenl! $ecome %ust as #ntr#&ued( I loo'ed up at h#m and wa#ted for h#m to loo' $ac'( I held h#s stare and sm#led 'now#n&l!( 6<eff) wh! dont !ou ta'e one out@ Go on) the!re r#&ht #n front of !ou(= +e reached across ner"ousl! and pulled one towards h#m( +e loo'ed up at me) s#lentl! as'#n& #f he should loo' at #t( 6Go on) ta'e a loo')= I sa#d) &estur#n& at the card w#th m! hand( +e turned #t o"er( he a#r suddenl! sur&ed #n h#s lun&s and h#s e!es w#dened( +e stared at the rectan&le of card$oard #n h#s hand and a$solutel! fro-e! hen he fl#c'ered) and loo'ed o"er at h#s mother) then $ac' at me( 6Oh my 5od the Pi-e of Diamonds mummt' how did he know. %*low did he do that. That was #t) that was it +#s parents loo'ed at me w#th uncerta#nt! #n the#r faces and I &athered t#p the cards and put them $ac' #n m! wa#stcoat poc'et) read! for another da!( I st#ll dont 'now e.actl! what happened) It seems that he had had the card #n m#nd $efore he p#c'ed #t( I d#dnt as') I %ust 'ept the 'now#n& loo' on m! face for a wh#le) then steered the con"ersat#on to other areas( 2 st#ll see the fam#l!) and I ha"e ne"er shown <eff another tr#c'( 5hen I do) #tll ha"e to $e a &ood one( Such are the moments that we l#"e for( <eff e.per#enced a sh#"er of real ma&#c) and h#s parents w#ll ne"er $e a$le to &#"e h#m a sat#sfactor! answer( Now) #ma&#ne #f the same co#nc#dence had happened and I had $een a %oll! enterta#ner w#th a &rat#n& "o#ce and a penchant for ma'#n& uncon"#nc#n& poodles from $alloons( Ima&#ne that I had as'ed h#m to p#c' a card and he had chosen the one that he had happened to ha"e #n m#nd) for whate"er reason( +e would ha"e searched for mean#n& and perhaps would ha"e st#ll $een surpr#sed( But would he ha"e done all the #ma&#nat#"e wor' necessar! to turn #t #nto a wonderful m#racle that he #s &o#n& to remem$er well #nto h#s adult l#fe@ I dou$t #t(
It #s "#tal for our model of ma&#cal performance that we set the scene w#th su$tle drama) su&&est#on and presence( 5hen we do) we create a sense that what we are a$out to perform #s of #mportance( h#s #s a lu.ur! open to us as wor'ers of real ma&#c when we are as'ed to perform #n a soc#al) non-profess#onal sett#n&( Ima&#ne* we can teas#n&l! show reluctance) we can spend an hours con"ersat#on sett#n& the ps!cholo&#cal scene $efore the effect) and we can restr#ct oursel"es to the performance of a s#n&le #tem( hese are $eaut#ful opportun#t#es( In order to e.plo#t them full!) I ne er as' #f an!one would l#'e to see a tr#c') If there #s someth#n& that I would l#'e to show) I drop a h#nt #n con"ersat#on and allow #t to ferment( I alwa!s man#pulate them to as' me, and presume #f the! dont that #t would ha"e $een a $ad #dea an!wa!( he h#nt that I drop #s not that I m#&ht ha"e someth#n& to show them( It #s merel! an #ntr#&u#n& reference to the e.per#ence of ma&#c) com$#ned w#th a certa#n &l#nt of the e!e and a seduct#"e &lance( hat wa!) I can fe#&n reluctance and #ntens#f! the#r des#re( 5#th th#s #n m#nd) the moment of performance has a &ra"#t! and sense of profound ant#c#pat#on be$ore % !ave a""arently done an!th#n&( :et that pa"#n& the wa! for a certa#n respons#"eness from m! part#c#pants w#ll create the con"#ct#on needed for <effs m#rade to ta'e root) and render m! compan#ons far more su&&est#$le than otherw#se( Compare th#s to the mood that #s &enerated #f !ou as') out of the $lue) #f an!one would l#'e to see a tr#c'( A certa#n percenta&e w#ll $e enthus#ast#c) $ut there w#ll usuall! $e a note of c!n#c#sm struc' when the offer #s made( S#m#larl!) I f#nd most ,attent#on &etters rather wear!#n&) and am unsure a$out us#n& str#'#n& p#eces of "#sual ma&#c to ,reel people #n 7such as omm! 5onders 6'ft Per Aent #ighter, su&&ested for th#s purpose) where h#s empt! l#&hter chan&es to a $o. of matches to allow h#m to l#&ht h#s c#&arette8( h#s latter techn#-ue has a$out #t a note of self-consc#ousness that I $el#e"e an #ntell#&ent aud#ence w#ll come to real#se and e"entuall! f#nd rather sad) Ima&#ne !ou are seen smo'#n&) and suddenl! !ou push the l#t c#&arette #nto !our ear and pull #t out of !our mouth( :ou d#d #t to &et the attent#on of some$od! $ecause !ou would l#'e to perform some ma&#c w#th the &roup( Someone responds) &enu#nel! amaAed $! what the! saw( O$"#ousl! !ou ha"e performed the #mpromptu p#ece #n such a wa! that d#d not seem to $e self-consc#ous) and !ou d#d #t well( A con"ersat#on $e&#ns) and !ou sa! that !ou are a ma&#c#an( One th#n& leads to another) and !ou are soon perform#n& a few tr#c's( All "er! well) !ou ma! sa!) $ut #t does not ta'e lon& for that f#rst person to real#se that !ou must ha"e $een us#n& the c#&arette effect to draw attent#on to !ourself( +owe"er much the! en%o!ed the tr#c's !ou performed) I am unsure a$out lea"#n& someone w#th the #mpress#on that !ou were ea&er to do a $unch of tr#c's and sat there dropp#n& "#sual h#nts( h#s does not seem #n l#ne w#th &#"#n& !our ma&#c a "er! h#&h prest#&e( It ma'es #t seem a l#ttle tr#"#al) and !ou someth#n& of a nerd( It &#"es me the same creep#n& feel#n& that I &et when I see ma&#c#ans carr!#n& around the#r props at all t#mes for when some s#tuat#on ar#ses( 5hat would $e !our percept#on of a man who casual#! performs a few tr#c's #n a $ar for h#s fr#ends) and then suddenl! produces len&ths of rope from h#s poc'ets and starts to perform@ 5ould !ou cr#n&e@ Most pro$a$l!) for #t ad"ert#ses the fact that he #s alwa!s read! to $e Mr( 3nterta#ner) and happ! to $e seen to $e so(
I carr! noth#n& w#th me when 2 &o out) unlessE need to pract#se a new effect and need &u#neap#&s( But e"en then) I would not carr! an!th#n& that loo'ed as #f I were carr!#n& #t on purpose( A dec' of cards would $e the a$solute l#m#t) $ut I would act as #f I were not sure that I e"en had a dec' on me( here ha"e $een t#mes when I ha"e &one out w#th an I ; f#.ed #ns#de m! %ac'et) a thum$-wr#ter #n m! poc'et and a ma&net strapped to m! 'nee $ut these are all #n"#s#$le props( 5#th them I can perform m#racles that would $e d#ff#cult to match w#thout th#s preparat#on) $ut when I use them % do 0wt appear to ha e brought anything with me! No one #s &o#n& to #nwardl! &roan as 2 produce a prop(
4
here can $e no nerd#ness #n our model of ma&#c( 5e must remem$er that #t #s us that our compan#ons are e.per#enc#n&) not %ust the effects( If that pro%ect#on of self shows a man who #s ea&er to %ump up and $e Ma&#c-Mon'e! at the $ec' and call of an!one who w#ll tal' to h#m) then all thud is left to be interesting are a hunch of tricks! It #s the power) a&a#n) of w#thheld presence* the #mpact made $! what !ou dont do) translated deftl! and fa#ntl! #nto what !ou do! 5hen I sa#d to <eff) 65h! dont !ou ta'e one@ he!re r#&ht #n front of !ou)= I am ma'#n& the cards suddenl! tempt#n& and for$#dden( h#s) com$#ned w#th con&ruent non-"er$al commun#cat#on ensures a he#&hten#n& of the e.per#ence( Seduce people w#th #ntr#&u#n& and calculated understatement( G#"e !ourself and !our art that #mportance) and the capac#t! to unner"e(
+a"#n& donned th#s sh#rt and #ts accessor#es) ma'#n& to the world of str#ct-tempo dance a fa#rl! clear fash#on statement 7wh#ch rou&hl! translated #nto J6<I T/E COB3 <6 5<D ;%## 4<:EF<D9 /E#P :E2, I would then wh#s' /onna) m! enthus#ast#c $ut rather hea"! partner onto the floor w#th ten other surpr#s#n&l! unattract#"e couples and awa#t the mus#c( /onna was also unusuall! tall and at t#mes I would f#nd m!self str#'#n& the re-u#red Cat#n pose w#th the t#p of m! nose near-#nserted #nto her su$stant#al #nter-mammar! cleft( Our spec#al#t! was the Cha-ChaCha 7or s#mpl! the ,Cha-Cha) as those of us #n the $us#ness refer to #t w#th wear! fam#l#ar#t!8( After stand#n& #n Clenched Pos#t#on tr!#n& not to fart for (a m#nute or so wh#le some$od! put on the correct C/) the floor would erupt to the Cat#no sounds of ;oss M#tchell And +#s S#n&ers str#cttempo "ers#on of B-theme class#cs) and !our author would proudl! sha'e h#s $oot! across fort! s-uare feet of temporar! dance-floor #n the Fel edere 4uite of the 5ol"e#-hampton Corporate Ce#sure Cent e and B#n&o +all( As m! f#&ht tw#n peaches swun& and thrusted to $ad mus#c) and as I 'ept the re-u#red e.press#on on m! face throu&hout for three danc#n& m#nutes at a t#me 7men are tau&ht to e.ude an e.press#on somewhere $etween chew#n& &um and suffer#n& from pa#nful const#pat#on( 5omen ha"e #t eas!* the! need onl! loo' as #f the! th#n' the! m#&ht #ust $e a$le to smell someth#n& unpleasant -u#te far awa!8) I had l#ttle opportun#t! to -uest#on m! presence #n th#s room that conta#ned enou&h se-u#ns to suppl! a score of Be&as $ell!- dancers who ha"e $een told to wear e.tra se-u#ns for a spec#al se-u#n e.tra"a&anAa( here I was) collect#n& plast#c troph#es $! pr#c'#n& around l#'e a $#& coc'#n& poof) and no one was tell#n& me to stop(
It was hard to e.pla#n to /onna) m! partner that I had %o#ned the Br#stol Un#"ers#t! Ballroom /anc#n& eam #n irtn-y! She cr#ed #f we d#dnt w#n our pr#Aes) weep#n& salt! dance-tears at $e#n& one half of a troph!-less fourth-$est) 5hen we d#d w#n) I would &ra$ her and strut across the floor to collect our pr#Ae) wh#s'#n& her flam$o!antl! around me l#'e a danc#n& cane) e.cept a danc#n& cane that was a &#rl( /onna too' #t "er! ser#ousl!( /onna was /onna of the /ance( I could not ta'e /onna ser#ousl! at all(
hen I went to l#"e #n German! for a wh#le) a countr! fond of $allroom-danc#n& amon&st #ts !outh( hese s-uare-set) craA! dudes en%o! the cha-cha almost as much as the! en%o! wear#n& s#ll! spectacles and dr#n'#n& calc#um-r#ch m#l' stra#&ht from the udder wh#le the#r chee's and 'neecaps "#s#$l! &row( I had a few offers of dance-partnersh#p) $ut I do not eas#l! f#nd m!self drawn to the compan! of German women( Most appear to ha"e $een ster#l#sed for th#rt! m#nutes #n art autocla"e and should $e handled w#th ru$$er &lo"es( So I let m! !outh as the Cat#n K#n& d#e) and danced #nstead the #ntr#cate $allet of the euton#c $ureaucrat#c s!stem as I attempted to l#"e as an off#c#al res#dent( Southern German! sh#mmers and sw#rls w#th the ara$es-ues of #ts rel#&#ous ornamentat#on* a faRade of capr#ce and del#cac! $rou&ht #nto #ron#c rel#ef $! what must $e the least wh#ms#cal race on 3arth( But I am stra!#n& from m! po#nt( 5hen I left $eh#nd the unpleasant clothes and lud#crous manner#sms of $ad danc#n&) I ended a per#od of m! l#fe that had $een an odd and #ntense e.curs#on #nto a stran&e s'#ll) wh#ch #s most pro$a$l! ne"er to ser"e me a&a#n( +a"#n& $een wh#s'ed stra#&ht from no"#ce #nto #ntense Cha-cha lessons) I d#d not e"en learn the onl! worthwh#le th#n& one m#&ht hope to &lean from such tu#t#on* how to passa$l! waltA w#th an attract#"e stran&er( I had $ecome adept at someth#n& that was to $e useless( Stud!#n& Caw was a s#m#lar e.per#ence( I &raduated as a law student $ut ne"er pursued that career of chew#n& p#eces of paper chewed a thousand t#mes $efore( 7Kaf'a) paraphrase) #tal#cs m#ne(8 At the t#me of wr#t#n& th#s) the cele$rated card#c#an and Casano"a Gu! +oll#n&worth #s underta'#n& the oppos#te %ourne!* mo"#n& from an e.clus#"e ma&#cal career #nto Caw( Clearl! th#s #s a s#&n that I ha"e a f#ner m#nd) wh#ch #s a source of &reat pr#de(
But #t #s ne#ther danc#n& nor Caw of wh#ch I reall! w#sh to spea') $ut #nstead the th#rd seem#n&l!wasted s'#ll area to wh#ch our d#scuss#ons so far ha"e $een merel! amus#n& and en&a&#n& preludes( he th#rd area) and the su$%ect of what rema#ns of th#s chapter) #s P#c'-poc'et#n&( +ere are m! essent#al thou&hts on the su$%ect( I was attracted to p#c'-poc'et#n& after some !ears perform#n& as a ma&#c#an) and wh#le I cannot remem$er e.actl! how m! #nterest started) I #ma&#ne there are few ma&#c#ans who are not attracted to the #dea of a deft watch- steal( I stud#ed the techn#-ues and e"en $ou&ht m!self a ta#lors dumm!) pract#s#n& w#th wh#ch appeared to $e the most flam$o!ant and authent#c wa! to learn( I $ecame adept at steal#n& watches) t#es and wallets) and ha"e e"en ta'en a few $elts #n m! t#me( 9or those who ha"e learnt these s'#lls the! are wonderfull! add#ct#"e( Ceather watch-straps "#s#$l! glow on the e.posed wr#sts of those we meet( An e.posed wallet calls out to us #n a clear) h#&h-p#tched "o#ce) $e&&#n& to $e stolen( he pro$lem) as I saw #t at the t#me) was that #n order to e.tens#"el! p#c'-poc'et one or more #nd#"#duals #n th#s theatr#cal sense) #t seemed necessar! to ha"e a certa#n o"erl!-tact#le and rather fuss! persona( h#s $othered me) for m! performance character could not $e an! more d#fferent( he appearance of clums#ness "ar#es from one performer to another) $ut there #s often a sense of #n"as#on of $od!- space and o"er-fam#l#ar#t! that d#d not appeal(
S#m#larl!) when the su$%ect of e.tens#"e steals #s o$"#ousl! aware of the p#c'poc'ets act#ons) the performance #s em$arrass#n& to watch( :et when the steals are clearl! $e#n& m#ssed $! the "#ct#m) and the rout#ne a &ood one) the result #s usuall! enormousl! enterta#n#n& theatre( I could not settle m! d#lemma for a lon& t#me* I wanted to perform what I saw as "er! stron& and unusual mater#al) !et I d#d not want to comprom#se m! performance character( 3"entuall!) I saw that the s'#lls I had learnt #n that area) l#'e the em$arrass#n& ep#sode of the Chacha-cha) should pro$a$l! $e left) or #n the case of the p#c'-poc'et#n&) at most des#&nated to fall$ac' talents for nast!) no#s! corporate funct#ons where resonant ma&#c was near #mposs#$le to ach#e"e) It was a shame to let #t &o) $ut e-uall! #t was r#d#culous to launch #nto a p#c'-poc'et#n& rout#ne #n the m#ddle of a m#nd-read#n& set( It too' a wh#le for me to adapt #t to m! tastes) and see where #t m#&ht &o( I had heard of Gentleman <ac') who would perform p#c'-poc'et#n& w#th the most charm#n& ar#d detached manner and ne"er $e seen to $e #ntrud#n& upon h#s su$%ects( hat struc' me as an #deal to $e wor'ed for( he -uest#on pers#sted* what relat#onsh#p could p#c'-poc'et#n& ha"e to the model of ma&#c that I was de"elop#n&@ A chee'! wa"e of a wallet $eh#nd a spectators head hardl! seemed the stuff of stron& and unner"#n& ma&#c( +ow could #t $e done w#thout comprom#s#n& our "#s#on@ I shall set out m! answers) for I $el#e"e we can do wonders w#th th#s tool #f we approach the art of p#c'poc'et#n& #n an unusual wa!D I shall $e&#n w#th three po#nts( 9#rstl!) there #s no dou$t that p#c'- poc'et#n& has the capac#t! to capture the #ma&#nat#ons of an aud#ence( It #s #n essence so unner"#n&) so intrusi e, that #t #s d#ff#cult for a spectator to $rush #t as#de #n the wa! he m#&ht an assem$l! of the four Aces( o f#nd that ones t#e has $een remo"ed o"er the course of con"ersat#on #s a "er! d#stur$#n& th#n&) and not l#'el! to $e for&otten(
Secondl!) and -u#te surpr#s#n&l!) "er! l#ttle attent#on #s &#"en #n the l#terature to the m#sd#rect#on needed to secure the steals #n"#s#$l!( ;ead#n& #nstruct#ons #n most of the $oo's on) sa!) how to remo"e a $elt or t#e) one #ma&#nes that the spectator #s stand#n& there %ust watch#n& !ou( Generall! the methods $r remo"#n& #tems are s#mpl! eff#c#ent and stra#&htforward) whereas the m#sd#rect#on 7where the actual s'#ll l#es8 #s) as a rule) a$sent from these te.ts( h#rdl!) the l#terature assumes that the a#m of steal#n& #tems #s to pro"#de amusement for the spectators as stolen o$%ects are d#spla!ed to the &roup out of s#&ht of the "#ct#m( 5here th#s seems to ma'e a$solute sense for an act that #s pr#mar#l! a$out p#c'-poc'et#n&) I $el#e"e that a more su$tle use of the s'#ll ma! $e emplo!ed) to d#fferent ends( ;ather then $e#n& a cle"er and enterta#n#n& d#spla! of s'#ll 7and I do a$solutel! lo"e watch#n& #t done well #n th#s wa!8 I feel #t can also $e used w#th a "er! d#fferent aesthet#c #n m#nd( C#'e) for e.ample) m#nd-$low#n& ps!cho'#nes#s and un$el#e"a$l! d#rect telepath#c stunts( Cet me $e&#n w#th th#s f#nal poss#$#l#t!) to set the scene( Some t#me a&o I was perform#n& m#ndread#n& for a &roup of people and was aware that one lad! #n part#cular was #mmensel! #mpressed( She came up to me at the $ar and as'ed some -uest#ons a$out what she had seen( 5e chatted for a wh#le) and I spo'e a$out the ps!cholo&#cal techn#-ues that I was 7honestl! and apparentl!8 us#n&( hen I offered to show her someth#n&( I as'ed #f she wore a watch( She repl#ed that she d#dnt wear one( /#d she ha"e one at home@ :es) she d#d( I as'ed her to descr#$e #t #n as much deta#l as she could) and to tell me e.actl! where at home she 'ept #t( It was #n her $edroom on her dress#n& ta$le across the room from the $ed( I spo'e a$out e.per#ments and #n"est#&at#ons that had ta'en place #nto teleportat#on( where an o$%ect had) apparentl!) mo"ed
from one place to another( I e.pla#ned #t #n terms of su&&est#on and halluc#nat#on* of the m#nd fool#n& #tself( I &eared her #nto a state of fasc#nat#on as re&ards the poss#$#l#t! of halluc#nat#on and spo'e a lot a$out m! own e.per#ments w#th powerful "#sual su&&est#on( I as'ed her #f she was happ! to tr! th#s w#th her watch) or whether she would l#'e to choose someth#n& else from her room wh#ch she could #ma&#ne as clearl!( I offered her the cho#ce) $ut she dec#ded to st#c' w#th the watch( I held out m! hand) empt! and palm up) #n front of her) and as'ed her to see the watch there( I told her to $u#ld the #ma&e of #t slowl! #n her m#nd( I 'ept m! hand mot#onless throu&hout( I as'ed further -uest#ons a$out #t to #ntens#f! her #ma&#n#n& of the watch) such as what t#me she #ma&#ned #t to sa!) and I used "ar#ous h!pnot#c techn#-ues unt#l I 'new that she would m#ldl! start to halluc#nate #t there( I told her to p#c'( #t up and feel #t #n her f#n&ers) ar#d 'ept her a$solutel! focussed( I was not sure how clearl! she was see#n& #t) $ut she was &enu#nel! enter#n& #nto the e.per#ence of #t) wh#ch was what I wanted( I e.pla#ned that the e.per#ence of the watch ma! onl! $e #n her m#nd) $ut that some people would m#sta'e these m#nd-p#ctures for the real th#n&( Suddenl! #t $ecame clear that she could see #t w#th complete clar#t! on m! palm( She could p#c' #t up) feel #t and so on( She was see#n& #t at e.actl! the hour that she #ma&#ned( I ha"e ne"er had a react#on from a spectator that e.pressed such profound $ew#lderment as at that t#me( She sat there w#th a completel! con"#nc#n& halluc#nat#on of her watch) and her m#nd was tell#n& her #t was real) wh#ch she 'new to $e an #mposs#$#l#t!( I told her that #f she thou&ht #t to $e real) then #n a sense it $ecame real( I sa#d that I could $! now see #t m!self) thou&h I descr#$ed #t sl#&htl! d#fferentl! to how she #ma&#ned #t(
If an!one has had a true e.per#ence of ma&#c wh#le ta'#n& part #n m! performances) th#s lad! certa#nl! d#d( As !ou ma! ha"e &athered) I stole the watch earl#er and %ust struc' &old( Clearl! her wear#n& the watch was an e.tremel! rare occurrence) and her presumpt#on was that she d#d not ha"e #t on( She &enu#nel! $el#e"ed #t to $e at home( 5hen she came to &et a dr#n' and we had our #n#t#al d#scuss#on a$out ps!cholo&#cal techn#-ues) m! p#an was s#mpl! to let her see that her watch was m#ss#n&) and then hand #t to her( Because I had stolen #t lon& $efore $ut had not $een as'ed for #t $ac') I 'new that she had not not#ced #ts a$sence) and would $el#e"e that I had stolen #t #mposs#$l! dur#n& our con"ersat#on at the $ar( She would ha"e $een "er! #mpressed) $ut when she sa#d that she d#dnt wear one) I saw the opportun#t! for someth#n& e.traord#nar!( B! ma'#n& her "#sual#se #t "er! clearl! #n e.actl! the spot she 'new #t to occup! at home) I was re#nforc#n& tenfold the $el#ef that #t was #ndeed there( he more clearl! she #ma&#ned #t) the more #t $ecame #mpressed #n her m#nd) and the more she #n"ested #n the proceed#n&s( I 'new that she wouldnt then chan&e her m#nd and choose to #ma&#ne someth#n& else #n #ts place when I offered her the chance of wor'#n& w#th another #tem( he watch was %ust too clear #n her m#nd( Of course) when #t was done) I could sa!) 6#ts #nterest#n& that !ou chose to do that w#th !our watch( ;ecentl! I tr#ed #t and a lad! dec#ded to do #t w#th her 'e!s) wh#ch she 'new she had left at home( 5hen I as'ed !ou to choose someth#n&( d#d !ou see some we#rd an#mal-shaped ch#na th#n&@ 5hat was that@= I as'ed th#s #n the 'nowled&e that when I offered her the chance to chan&e her m#nd) she would ha"e scanned her dress#n& ta$le #n her m#nd and seen a few other o$%ects) $ut d#sre&arded them( B! ment#on#n& a common dress#n&-ta$le o$%ect at th#s po#nt) I not onl! score a $onus po#nt for a $#t of m#nd-read#n&) $ut suddenl! she remem$ers ha"#n& a choice as to wh#ch #tem to use( hat was a luc'! da!) $ut these th#n&s happen #f !ou ha"e the fle.#$#l#t! to allow them to( Cet me $r#efl! descr#$e a more rel#a$le #dea) wh#ch I use whene"er I can) to further #llustrate th#s not#on of us#n& p#c'-poc'et#n& for more #ma&#nat#"e uses( +ow a$out th#s@ :ou as' a fr#end #f he has a wallet( If he does) !ou as' h#m to remo"e any card
from #t such as a cred#t card) a dr#"ers l#cence) a mem$ersh#p card or some such( As he remo"es #t) !ou loo' awa!( :ou tell h#m to place h#s hand o"er the $ac' of the card so that !ou are una$le to see #t( I should po#nt out that !ou are &enu#nel! una$le to see the card( :ou then as' h#m to concentrate on an! se-uence of num$ers or s#m#lar th#n& that the card ma! conta#n( 5e shall #ma&#ne that he #s loo'#n& at h#s cred#t card num$er( a'#n& a scrap of paper) !ou as' h#m to th#n' of one ol the num$ers towards the $e&#nn#n& or end of the se-uence( :ou tell him that number! hen) start#n& w#th that num$er #n !our m#nd) !ou #mposs#$l!) $eaut#full!) start to call out the str#n& of num$ers) wr#t#n& them down as !ou sa! them( Perhaps !ou &et one wron& at the start) $ut !our accurac! #s en"#a$le( :ou do noth#n& other than what I ha"e sa#d) and !ou can repeat #t w#th a d#fferent card should !ou w#sh( :ou ma! thus read the num$er on an! card w#thout &o#n& an!where near the wallet(
4
h#s I performed for a fr#end a wh#le $ac') a fr#end who has seen man! of m! shows( h#s he remem$ers as the $est th#n& he has e"er seen( #f <oe reads th#s he w#ll $e "er! d#sappo#nted( G#"en the prem#se of th#s chapter) the essent#al wor'#n& of the effect should $e clear( Its eas#est w#th fr#ends( Onl! act#n& s'#ll #s re-u#red( I had access to h#s wallet at an earl#er date 7perhaps hell remem$er now as he reads th#s that he once left #t at m! house $! m#sta'e@8 and noted down all the card num$ers) toðer w#th a $r#ef descr#pt#on of what each card loo'ed l#'e from the $ac'( I then put th#s p#ece of paper #n m! wallet and allowed m!self to for&et a$out #t( A month later) I found #t a&a#n) and chose the $est moment( I cau&ht a &l#mpse of the $ac' of the card as he remo"ed #t from h#s wallet) and the rest was %ust creat#n& a m#racle( I real#se that th#s wasnt e.actl! p#c'-poc'et#n& #n th#s #nstance) $ut I shall descr#$e $elow how to perform th#s as a p#ece w#th a stran&er( he stren&th of th#s effect was so powerful that some t#me later) <oe too' m! own wallet and pulled out m! cred#t card( +e challen&ed me to tell h#m the num$er( I fe#&ned reluctance) $ut #nd#rectl! encoura&ed h#m to pers#st( M! ma#n e.cuse for not tr!#n& was that he m#&ht th#n(' that I had memor#sed m! own card num$er( +#s repl! was) and I remem$er these $eaut#ful words to th#s da!) 6No) come on) 2 th#n' I can safel! assume that !ou dont s#t around learn#n& !our own cred#t card num$ers( Now) come on(= I res#&ned to h#s pers#stence and slowl! told h#m m! B#sa num$er) memor#sed throu&h !ears of order#n& ma&#c props $! telephone( he ma#n #ssue as re&ards steal#n& an #tem for th#s t!pe of effect #s that the p#c'-poc'et#n& #s ne"er re"ealed( No$od! should 'now that !ou e"en ha"e the s'#ll) unless !ou can clearl! and con"#nc#n&l! separate these effects from an! earl#er steals !ou ma! ha"e performed( In fact) !ou would l#'e that one poss#$le method "he would ha e had to ha e stolen my watch earlier from my wrist when % didnt notice and then counted on me being mistaken about not wearing it! Or) he must ha e stolen my wallet, noted down all the numbers, then put #t back again before we started!!!2 to sound so r#d#culous that #t #s s#mpl! d#sm#ssed( In other words) !ou are deal#n& w#th p#c'-poc'et#n& as a means to an end( If !ou are not lett#n& the &roup 'now that we are steal#n&) certa#n #ssues ar#se( 3ssent#all!) !ou cannot be seen to be doing anything! hat ma! sound o$"#ous) $ut most p#c'-poc'et steals are des#&ned to $e seen $! the &roup) #f not $! the su$%ect( +#d#n& th#s #s pr#mar#l! a ma#ler of ph!s#cal $loc'#n& and m#sd#rect#on( Nor can !ou $e seen to $e fum$l#n& or o"er-fam#l#ar) $ecause there w#ll $e no reason for #t offered( :ou w#ll %ust seem ner"ous or rude( Cet us now loo' at the #ssue of techn#-ue( he steals I use are essent#all! standard) $ut here I shall concentrate on the m#sd#rect#on #n"ol"ed( Plent! of "#deotapes and $oo's offer the student the wor' on watch-steal#n&) so I shall not &o #nto enormous deta#l( Cater I w#ll d#scuss the "#tal area of return#n& the &oods 7wh#ch ta'es on e.tra #mportance #f the aud#ence does not real#se that an!th#n& has $een stolen8(
<utside Pocket
h#s #s the steal I use to perform the cred#t-card effect descr#$ed a$o"e( It #s the eas#est steal) and $ecause !ou must return the wallet) ease and access#$#l#t! are paramount( Best done w#th someone stand#n&) !ou pos#t#on !ourself fac#n& the spectator ar#d a l#ttle towards the s#de from wh#ch !ou w#sh to steal( :ou need to ha"e a reason to open the#r %ac'et w#de for them on that s#de( :ou open the %ac'et w#th the hand on !our oppos#te s#de* #n other words) open#n& the %ac'et w#ll $loc' !our other arm from the#r "#ew) allow#n& #t to ma'e the steal( Se"eral ent#rel! %ust#f#a$le reasons su&&est themsel"es)
As'#n& the spectator to hold the %ac'et open so that !ou can &a#n access to) sa!) h#s %umper) to perform a c#&arette "an#sh there( :ou open the %ac'et on $oth s#des) one at a t#me for h#m to ta'e( Open#n& the f#rst s#de) !ou ma'e the steal( As'#n& h#m to place an o$%ect #n h#s #ns#de poc'et( :ou open the %ac'et so that he can &a#n the access he needs( As'#n& h#m to remo"e an #tem from the #ns#de poc'et( In a s#tuat#on where !ou are not) as !et) perform#n&) $ut w#sh to secure an #tem earl!) !ou do ha"e the $raAen opt#on of compl#ment#n& h#m on h#s %ac'et) and as'#n& #f !ou can pee' at the la$el( :ou then open the %ac'et $efore he does) h#s ma! su#t !our character) $ut #t tend to tele&raph that !ou m#&ht $e up to someth#n&( Iron#call!) #t wor's $etter when !ou are not perform#n&) as the re-uest to feet or #nspect the %ac'et #s someth#n& that ma! occur naturall! #n real l#fe) $ut seems odd d+r#n& performance(
S S S
In some of these s#tuat#ons) !ou can casuall! ma'e a m#sta'e( here ma! $e no #ns#de poc'et on the s#de where !ou loo') $ut he has one on the other s#de( Or !ou as' h#m to remo"e the #tem) $ut !ou offer h#m the wron& s#de( +e corrects the m#sta'e and loo's on the other s#de((( $ut for a moment !ou ha"e the %ac'et correctl! open on the s#de !ou des#re( Nu#c'l! and flu#dl!) the other hand) $loc'ed from "#ew $! the open lac'et) d#ps #nto the s#de poc'et and ma'es the steal( Because the %ac'et #s awa! from the $od!) #t w#ll not $e felt( I ta'e whate"er #s there) unless I am spec#f#call! &o#n& for the wallet wh#ch I ha"e seen the spectator place there earl#er(
It #s an eas!) standard and #n"#s#$le steal( It does not need much #n the wa! of m#sd#rect#on) for th#s #s normall! #ncorporated #nto the reason for open#n& the %ac'et( Normall! no more than two f#n&ers are needed to ma'e the steal) &r#pp#n& the #tems #n a sc#ssor-l#'e p#nch Because m! hand has swun& up from m! s#de to h#s poc'et) I tend to cont#nue the mo"ement after the steal and place m! hand $eh#nd h#s $ac'( hen I can comforta$l! place the #tem #n m! poc'et after the e"ent( If we do not w#sh to tele&raph the steal to the &roup) #t #s s#mpl! a case of us#n& the %ac'et and the s#de of !our $od! to $loc' the#r "#ew as well( Because !ou ha"e not s'#pped a $eat w#th th#s steal)
there #s no reason to show #t( :ou ha"e not $een seen to #ndul&e #n an! odd tact#le mo"ements w#th the spectator) so there #s no reason to %ust#f! unusual act#ons $! show#n& them what !ou ha"e ach#e"ed( 9or our purposes) th#s #s #mportant( In some c#rcumstances) howe"er) and ones that do not concern us here such as where the mood must rema#n up$eat and l#&ht-hearted) d#spla!#n& the #tem o"er the#r shoulder for the rest of the &roup to see can $e "er! enterta#n#n&(
/
Ber! often I f#nd m!self #n th#s s#tuat#on when I am perform#n& m! presentat#on of the ,In"#s#$le /ec'( It pla!s as a ser#ous p#ece of h!pnot#c control and allows me that moment to open the spectators %ac'et for h#m to secure the cards #n h#s #ns#de poc'et( If I ha"e remo"ed a wallet) or %ust a cred#t-card wallet) I f#n#sh the effect and $#d them a farewell( Around the corner) I open the wallet and em$ar' upon the dod&! pro%ect of wr#t#n& down all the num$ers on the cards as I ha"e descr#$ed( hen I %o#n the &roup a&a#n a l#ttle later) depend#n& upon how lon& I th#n' he w#ll &o w#thout real#s#n& what #s m#ss#n&(
I perform a few more m#nd-read#n& effects) unt#l I am read! to close( At some po#nt) depend#n& upon the c#rcumstances of the "enue) I e#ther s#t m!seff ne.t to the spectator and -u#etl! return the wallet) or I m#&ht as' h#m to sh#ft from one seat to another and replace #t then as I &u#de h#m across( A&a#n) th#s need not $e a fr#&hten#n& moment) and #n reasona$l! crowded "enues) th#s #s an eas! tas'( Care should $e ta'en when the spectator #s seated and the %ac'et #s han&#n& open at the s#de of the cha#r* the sh#ft #n we#&ht as the wallet #s returned ma! $e not#ced unless he #s mo"#n& for some reason( #t #s useful to as' h#m #f he would $e '#nd enou&h to pass !ou some o$%ect from the other s#de of the ta$le) or to en&a&e #n some s#m#lar $r#ef act#"#t! that w#f# necess#tate h#s loo'#n& and lean#n& awa! for a moment( 5hen I come to perform the effect) I tr! to $e seated oppos#te the spectator #n -uest#on( I as' #f he has a wallet) &estur#n& #nto m! #ns#de poc'et as I spea'( It #s a su$tle po#nt) $ut #t w#ll &u#de h#m to loo' #n that poc'et f#rst h#mself) $efore &o#n& #nto the s#de poc'et where #t #s located( It re#nforces the #dea that !ou do not 'now an!th#n& a$out it or where #t m#&ht $e( As he remo"es #t) I remo"e the l#st of num$ers and place #t on m! lap( I ta'e a nap'#n from the ta$le and a pen from m! poc'et and place the former near m! ed&e of the ta$le( A $r#ef word here( here #s someth#n& pr#celess a$out scr#$$l#n& on nap'#ns( It #s the ep#tome of an unprepared) #mpromptu and spontaneous effect( If I am profess#onall! perform#n&) 2 onl! use a pad as a last resort( here #s a $#& d#fference #n m! 7f#n#c'!8 m#nd $etween a memor! of me $r#n&#n& out m! own notepad and wr#t#n& down rece#"ed thou&hts) and scr#$$l#n& them on a nap'#n or a p#ece of paper torn from a c#&arette pac'(
In th#s pos#t#on) I can loo' d#rectl! at the #nformat#on on m! lap althou&h I w#ll appear to $e loo'#n& at what I am wr#t#n& on the nap'#n( 5hen I as' the spectator to th#n' of a d#&#t towards the $e&#nn#n& or end of the num$er) 76rather than #n the m#ddle wh#ch #s more confus#n&=8) I see from h#s e!e mo"ement wh#ch end he #s loo'#n& at) and then name the second #n from that end( Occas#onall! #t w#ll not $e the d#&#t he #s th#n'#n& of) $ut he w#ll tell me that there #s #ndeed one there( I can then usuall! &uess #t correctl! the second t#me( O$"#ousl! #f the open#n& d#&#ts are) sa!) 22?2TL((() and I see that he #s loo'#n& at the start of the num$er) I w#ll name the ? as the more l#'el! cho#ce than one of the Is( h#s #s a n#ce wa! of $e&#nn#n& to read the num$er) and the same techn#-ue can $e appl#ed to the letters #n a mentall! chosen word(
he #mportant #ssues here are how to start perform#n& the steal w#th real people) and what m#sd#rect#on #s needed( I f#nd) the $est #dea #s to $e&#n $! pract#s#n& on !ourself* plac#n& a watch on $ac'wards and learn#n& the $as#c techn#-ue( Ne.t) f#nd a w#ll#n& &u#nea-p#& 7th#s #s a f#&ure of speech wh#ch I hope tra"els across the Atlant#c( 9#tt#n& a real &u#nea-p#& w#th a watch and then repeatedl! pract#s#n& the steal can $e d#stress#n& $r the an#mal and #s %ust pla#n un'#nd8) prefera$l! one who would l#'e to learn the steal too) and pract#se on each other( :ou w#ll note when #t #s pract#sed upon !ou that w#th the thum$ press#n& a&a#nst the face of the watch) the strap #s ra#sed from the $ac' of the wr#st and the steal #s not felt as much as !ou would #ma&#ne( +owe"er) the real 'e! to ma'#n& th#s wor' most effect#"el! #s conf#dence 7wh#ch $e&ets speed8 and the occup!#n& of the spectator w#th some tas'( 5hat tas's@ he no"#ce $r#n&s out h#s plast#c f#n&er-chopper( h#s d#sastrous #tem aflords h#m e"er! reason to &rasp the spectators wr#st( 5ell) that seems to me to $e a d#sad"anta&e on all s#des( Not onl! are !ou perform#n& a $ad tr#c' for the sa'e of perform#n& the steal) !ou are also allow#n& e"er!one to $ac'trac' and 'now when the watch was ta'en( he f#rst #mportant po#nt to ta'e on $oard #s that #f !ou are 'nown to $e a ma&#c#an( perform#n& at the t#me) #t does not matter 'f you n-ess up the steal! 5atches w#ll alwa!s &et stuc' now and then and !ou w#ll occas#onall! $e cau&ht( Ma'e the most of the em$arrass#n& moment and ham #t up( It #s potent#all! "er! funn! to $e cau&ht #n the act( S#m#larl!) #f !ou are #n a small &roup when the watch $ecomes stuc' and !ou feel that !ou ha"e $een d#sco"ered althou&h the spectator has $een o$l#&#n& enou&h to sa! noth#n&) then loo' at #t d#sda#nfull! and sa!) , hats not com#n& off #s #t he spectator w#ll lau&h and h#s tens#on at real#s#n& !our efforts w#ll $e released( he rest of the &roup w#ll $e cau&ht off-&uard and f#nd #t m#ldl! enterta#n#n& as well( It ma! $e odd to recommend ma'#n& th#s adm#ss#on( In a lar&er &roup) #t #s certa#nl! $etter to pla! to the aud#ence and steal #tems w#thout worr!#n& too much #f the spectator has felt one or two( A watch or $elt that &ets stuc' #s worth perse"er#n& w#th) as lon& as !our "#ct#m does not let the aud#ence 'now that he #s aware of what #s &o#n& on( But #n smaller &roups) the f#rst -uest#on that #s alwa!s as'ed of the spectator after a watch #s returned #s 6/#d !ou feel h#m ta'e #t@= II he answers #n the aff#rmat#"e) #t #s suddenl! tremendousl! d#sappo#nt#n& for the ent#re &roup( Better to a$andon the steal and ma'e a %o'e of #t( So $ear#n& that #n m#nd) I su&&est that the $est moments to steal a watch are as follows*
a'#n& the spectator $! $oth wr#sts) the steal can $e made wh#le mo"#n& h#m from one seat to another) $efore !ou $e&#n an effect( :ou ma! w#sh to s#t w#th one person to perform a p#ece) and as' the spectator #f he wouldnt m#nd e.chan&#n& seats w#th !ou( S S#m#larl!) the steal can $e made as !ou $r#n& a spectator o"er to part#c#pate( :ou &u#de h#m arow#d the ta$le or across to #t) or perhaps %ust stand h#m up) as'#n& h#s name and tell#n& h#m to trust !ou and so on( 7Alwa!s tell them to trust !ou as !ou steal from them( Its one of the per's of the %o$8( 5h#le perfonn#n& th#s or the a$o"e steal) #t #s necessar! to press a l#ttle harder w#th the other hand a&a#nst the other wr#st wh#le !ou remo"e the watch( h#s #s the tact#le m#sd#rect#on* the essence of p#c'-poc'et#n&( As'#n& for the loan of a r#n& from a lad! as !ou s#t to her left) !ou ta'e her left wr#st w#th !our r#&ht hand and place her hand #nto !our left( :ou then massa&e her f#n&ers a l#ttle as !ou as' her a$out one of the r#n&s( As she answers) the steal #s made* #f she 'eeps loo'#n& at the r#n&s) !ou ma! w#sh to m#sd#rect her to the other hand $! reach#n& across her and ta'#n& #t w#th !our left hand) allow#n& her left arm to drop 7s#&nall#n& her to lose #nterest #n #t8 $ut 'eep#n& hold of #t as !ou steal the t#mep#ece( S If !ou must &#"e someth#n& to someone to hold) ha"e h#m hold out h#s hands) as !ou s#t to h#s left and &u#de them #nto pos#t#on for h#m $! &rasp#n& h#s wr#sts( As' #f he #s left- or r#&ht-handed) and wh#che"er he sa!s) release h#s r#&ht hand and place the o$%ect on #t and allow the left wr#st 7w#th the watch8 to drop #n the same wa! as $efore( ell h#m to s-ueeAe the o$%ect #n h#s hand( :ou ha"e plent! of t#me to ma'e the steal here) and the attent#on has $een on the r#&ht hand for some t#me( +owe"er) further co"er can $e &a#ned $! touch#n& h#m on h#s r#&ht shoulder w#th !our left hand #n a caut#onar! &esture as !ou tell h#m to 'eep h#s hand a$solutel! st#ll) or some such #nstruct#on( h#s act#on should $loc' h#s "#ew of !our hand on h#s left wr#st as the steal #s completed(
Ima&#ne perform#n& th#s class#c tr#c' w#thout an! alter#n& of the effect or compl#cat#n& of the presentat#on) and as a f#nal cl#ma.) $e#n& a$le to hand the spectator h#s wallet) cuffl#n's) 'e!s) t#e) watch and $eltE It can all $e done smoothl! alon&s#de the standard method for the c#&arette effect w#thout #nterfer#n& w#th the tr#c'(
+ere #s the rout#ne as I perform #t( he thum$t#p #s #n m! r#&ht %ac'et poc'et( I f#n#sh m! preced#n& effect and allow for a moment of &ra"#t! to settle( Usuall! there #s a c#&arette alread! l#t to use here) otherw#se I would now as' for one to $e l#t for me( I 'eep the tone ser#ous( 5hen I am read! to start) I ru$ m! hands &leefull! and sa! enthus#ast#call! to the &entleman s#tt#n& ne.t to me 7who has the #tems a$out h#m to steal8) 6;#&htE Cets do th#sE= I stand) and pull h#m to h#s feet( he sudden sh#ft #n m! mood 'noc's h#m sl#&htl! off-&uard) wh#ch fac#l#tates the f#rst steal* that of the watch( As I l#ft h#m to h#s feet) I ta'e h#s wr#sts and mo"e h#m to a pos#t#on where e"er!one can see h#m clearl!( As I do so) I ma! sa!) 6M#nd that nodd#n& #n the d#rect#on of dr#n's or #ma&#nar! #tems on the floor) to 'eep h#m d#stracted from the steal that #s ta'#n& place( I poc'et the watch( Ne.t comes the t#e( 9#rst I loo' to see #f the 'not #s $#ased towards the r#&ht or left) and then stand on that s#de( Generall! th#s w#ll $e h#s left hand s#de 7m! r#&ht8 and the s#de that the steal must $e made( 5hen th#s #s the case I place m! r#&ht hand on h#s shoulder near the collar and allow m! thum$ to sl#p stra#&ht under #t and the t#e( 62 must as' !ou to trust me here)(( Im not &o#n& to em$arrass !ou at all) or do an!th#n& unsa"our!) $ut 2 am &o#n& to %ust untuc' the "er! $ottom of !our sh#rt( Is that o'a! w#th !ou@= As I sa! th#s) m! left hand tra"els to the $ottom end of the t#e and holds #t for a moment( M! r#&ht thum$ l#fts the coHlar and the thum$ and foref#n&er &ra$ the t#e at the s#de of the nec'( Ber! -u#c'l!) I pull out the t#e) feed#n& the th#n len&th $ac' o"er h#s shoulder #n two $ursts( he th#n end of the t#e should feed up throu&h the 'not) $ut #t should not) #deall!) pull r#&ht throu&h( 5#th th#s done) I let the collar fall $ac' #f I need to) lea"#n& the slac' o"er the $ac' of h#s nec'( he t#e st#ll loo's f#ne from the front) 5hen I as' #f #t #s o'a! to untuc' the sh#rt) I onl! loo' at h#m $r#efl!) then m! e!es return to the $ottom of h#s sh#rt( +#s answer &#"es a helpful moment of pause for me to pull at the collar) $ut I do not want h#m loo'#n& up at me) where m! hand mo"ement w#ll $e #n the per#pher! of h#s "#s#on(
I lea"e the t#e #n th#s pos#t#on) and untuc' the sh#rt( If he hasnt alread!) I tell h#m to suc' #n h#s stomach( Presum#n& that the sh#rt #s $#& enou&h to pro"#de co"er 7th#s wor's well w#th a %umper8) m! left fourth and f#fth f#n&ers undo the $elt $uc'le( It #s onl! worth attempt#n& to ta'e the $elt #f #t #s reasona$l! th#n and #ts owner not too corpulent( 75e must remem$er that some people) 'nown as ,shut-#ns $ecome so tra&#call! o"erwe#&ht that the! are una$le to lea"e the#r own homes8( he end of the $elt w#ll ha"e a tendenc! to po'e out unless #t #s pulled r#&ht throu&h the $uc'le at th#s po#nt( he left free f#n&ers po'e the end of the strap $ac' #nto the $elt loop of the trousers for the t#me $e#n&) 'eep#n& the $uc'le p#n po#nt#n& safel! the wron& wa!( he suc'#n&-#n of the stomach #s alwa!s perlormed $! a male spectator) and fac#l#tates automat#call! the unfasten#n& of the $elt( In th#s contracted pos#t#on) the! do not feel #t( #e and $elt are read! to $e stolen) $ut now we turn our attent#on to the poc'et #tems( I open the s#de of h#s %ac'et nearest me) wh#ch #s h#s left( I as' h#m to hold #t out) and to do the same w#th the other s#de( M! r#&ht hand &oes #nto h#s outer left poc'et and steals an!th#n& there wh#le he holds #t #n pos#t#on( If h#s arm #s #n the wa!) I s#mpl! tell h#m to hold the %ac'et h#&her up( I place the stolen #tems #n m! r#&ht poc'et) and secure the thum$t#p( h#s #s all h#dden from the spectators $! the flap of the %ac'et( I then proceed w#th the effect( So far) I ha"e done noth#n& more than stand a spectator #n pos#t#on) untuc' h#s sh#rt-front) and as' h#m to hold h#s %ac'et open( 3"en #f I were not p#c'-poc'et#n&) I would ha"e appeared to ha"e done the same( 3ach mo"e necessar! for the e.tens#"e steals #s well-h#dden amon&st the act#ons necessar! for the c#&arette effect( he steals s#mpl! e.plo#t them(
he rema#n#n& mo"es w#ll happen #n the moments of rela.at#on) amaAement and m#rth follow#n& the cl#ma. of the c#&arette "an#sh( It #s therefore "#taE that the tr#c' #s performed and acted con"#nc#n&l!) to pro"#de the necessar! tens#on that w#ll afford a &ood ps!cholo&#call! #n"#s#$le moment after #t has f#n#shed( After the c#&arette has "an#shed) the left hand rema#ns under the sh#rt) and the r#&ht reta#ns the t#p( 6/ops) I ha"e made a l#ttle $urn)= I sa!) and as the spectator loo's down) I dump the prosthet#c dem#d#&#t #nto m! poc'et( r!#n& to complete the steals w#th #t on would create the same feel#n& of tact#le detachment assoc#ated w#th ru$$er sheaths of an! '#nd( he &roup w#ll $e on tenterhoo's) wonder#n& where the c#&arette has &one( I lower the sh#rt-flap o"er the $uc'le of the $elt) wh#ch I ha"e mana&ed to flatten( he $elt must $e ta'en last) $ecause #t #s the onl! steal that ma! $e felt at the last m#nute( I mo"e around to h#s other s#de) as he drops h#s %ac'et and loo's for the c#&arette( I #nnocentl! sa!) 6I d#dnt &et an! ash on !ou) d#d I@= In so sa!#n&) I casuall! open h#s r#&ht %ac'et s#de to show the sh#rt more clearl! 7as #f we are $oth loo'#n& for an! s#&ns of the c#&arette8 and steal from that outs#de poc'et( I am now read! to show the stolen poc'et #tems( he return of &oods must $e ma.#m#sed to the &reatest effect( he more !ou can show) the $etter( I &#"e h#m $ac' someth#n& from the f#rst poc'et-steal) and apolo&#se for somehow ha"#n& #t #n m! possess#on( hen an! other #tems are returned( As I &#"e them $ac') I name "ar#ous other poc'ets from where I pretend to ha"e stolen them( hus the! $el#e"e that I had stolen from trouser poc'ets) and #ns#de poc'ets too( I ha"e them replace them #tems #n the poc'ets I sa!) $ut I supposedl! return one to the #nner r#&ht poc'et m!self( ;ather than actuall! place the #tem there) I use an #dea of <ames 9reedmans and merel! m#me the placement) pull#n& the %ac'et onl! a l#ttle wa! from the $od! and pull#n& down on the poc'et w#th m! foref#n&er( o the spectator) #t feels as #f the #tem has $een replaced( +owe"er) 2 then release the #tem altoðer and catch #t at the $ase of the %ac'et w#th m! left hand wh#ch awa#ts #t( herefore I can return #t a&a#n) after a few more #tems ha"e $een replaced( 6:ou want to put that awa! more carefull!)= I sa!) &#"#n& #t $ac') allow#n& h#m to th#n' that he had replaced #t h#mself( A su$tle $ut effect#"e po#nt( After the poc'et #tems) I w#ll ta'e cuffl#n's #f the! are worn( I &o to the spectators r#&ht arm) and l#ft #t at the wr#st) pull#n& the slee"e $ac' %ust a l#ttle and sa!#n&) ,/#dnt !ou ha"e a "er! e.pens#"e watch on@= Because I am hold#n& the right arm) he w#f# #mmed#atel! &o to h#s left) wh#ch #s actuall! where he wore #t( It seems as ff2 ha"e %ust l#fted the wron& arm) or that he h#mseCf #s not sure on wh#ch wr#st he wore #t( M! r#&ht hand stead#es the cuff wh#le m! left f#n&ers open the -$ar and pull #t sw#ftl! throu&h( +#s attent#on #s now on the other arm where the watch should $e( I fe#&n amaAement and reach across to ta'e the wr#st that #s m#ss#n& the watch( 6+as #t &one@= I as'( 6Can !ou remem$er what #t loo'ed l#'e@= Because I am st#ll towards h#s r#&ht s#de) he naturall! loo's awa! from the wr#st to answer m! -uest#on( I push the rema#n#n& cuffl#n' throu&h and poc'et them as I reach #nto m! poc'et and remo"e the watch( hrou&hout th#s nonsense) the &roup w#ll $e lau&h#n& and en%o!#n& the pred#cament of the#r fr#end and m! s'#lls( It #s #mportant that I ta'e an almost apolo&et#c tone w#th th#s t!pe of rout#ne and 'eep h#m from feel#n& too hum#l#ated $! the happen#n&s( he return of the watch) howe"er) should &et me a round of applause( I $u#ld #t up a l#ttle) and w#thdraw #t slowl! from the poc'et( I mo"e around to h#s left s#de as I d#spla! #t to the &roup and to h#m) and as I &#"e #t $ac' I &#"e h#m a consol#n& s-ueeAe on the shoulder and rela.( h#s pro"#des a &ood ,off-$eat to place m! hand on h#s chest across the chest for a second and pull the "er! end of the mater#al throu&h the 'not( he t#e 'not should rema#n #n place) $ut the loose end s#mpl! han&s down h#s $ac'( Now to f#n#sh( he return#n& of the #tems #s apparentl! o"er) I than' the &roup and the spectator)
and #n"#te h#m to s#t $ac' down( M! r#&ht arm comes across h#s chest to h#s r#&ht shoulder) push#n& h#m $ac' &entl!) as I as' where he was sat( At the same t#me) m! left hand &ra$s the $elt end) and pulls #t out of the loop where #t has $een rest#n&) then &ra$s the $uc'le( I turn around w#th the $elt $uc'le #n m! hand) sna'#n& the $elt out of his trousers and around m! $od! #n a f#&ure-e#&ht mo"ement( h#s #s seen $! the &roup and #s def#n#tel! pla!ed for lau&hs( I am now on h#s r#&ht s#de) hold#n& up the $elt( 2 apolo&#se profusel!) and place #t w#th m! r#&ht hand across h#s $od! #nto h#s left) In the act#on of do#n& so) I $loc' h#s downwards "#ew w#th m! r#&ht arm) and m! left s#multaneousl! comes #n) &ra$s the t#e near the 'not) and pulls #t towards me) o"er and free of h#s shoulder( I push #t #nto m! left poc'et) $loc'ed from the "#ew of the spectators $! m! $od!) as I than' h#m for $e#n& a mar"ellous sport and #n"#te h#m to s#t( I ta'e m! applause) althou&h th#s #s someth#n& of a false end#n&) and at the r#&ht moment I &o for the o"er'#ll and produce the t#e( If the 'not #s st#ll #n place) I somet#mes hold the th#n end $eh#nd the 'not and &r#p the whole th#n& there as #f were st#ll t#ed( I pretend to unfasten #t as I hand #t $ac'( hat spar's off some "er! $ew#ldered con"ersat#ons later( A lot) !oull a&ree) to &et out of a thum$t#p(
Unnerving Reveals
he pre"#ous rout#ne) as I was '#nd enou&h to po#nt out) #s des#&ned as an enterta#n#n& p#ece of h#lar#t!( Clearl!) most of the t#me) the spectator wont ha"e a t#e) cuffl#n's) %ac'et and $elt I descr#$e the full) potent#al rout#ne w#th ma.#mum num$er of steals( It does not) howe"er) resonate that unner"#n& power that we would w#sh for #t to stand as a proud e.ample of ;eal Ma&#c real#sed( h#s #s where I would l#'e to e.pand the po#nt that a steal does not ha"e to $e pla!ed for lau&hs( Presum#n& that we ha"e alread! wandered from the trad#t#onal path and not allowed the aud#ence to see that an #tem has $een stolen) we ha"e the poss#$#l#t! of re"eal#n& the steal #n a more ser#ous and unsettl#n& wa! than w#th the l#ne 6Is th#s !our wallet) S#r@= If !ou ha"e stolen a "alua$le and personal #tem from a person) !ou ha"e performed a "er! d#stur$#n& act( Because !ou are 'nown to $e a ma&#c#an) !ou w#ll not land !ourself #n trou$le or &enu#nel! upset an!$od! when !ou re"eal what !ou ha"e done( herefore we are #n a s#tuat#on where rather than merel! pla!#n& for amusement) we can orchestrate d#stur$#n& and unsettl#n& ma&#c w#thout caus#n& an! upset( It has $een a theme of th#s $oo' that ma&#c #s purel! what !ou commun#cate #t to $e( :ou can presume that #t #s ser#ous and powerful and act accord#n&l!) wh#ch #s the pr#or#t! that concerns us here( he same must now appl! to the return of a stolen #tem( Produc#n& a persons wallet w#ll &enerate #n them a moment of confus#on( As w#th an! moment of ma&#c) the $ew#ldered spectator e.per#ences a rush of confl#cts) wh#ch need some resolut#on) he conte.t that !ou pro"#de for them w#ll &#"e them the answers the! need( If !ou sell !our ma&#c as ent#rel! safe and not at all worr!#n&) then the! w#f# not f#nd that moment d#stur$#n& #n the least( If) howe"er) !our character as a performer encoura&es them to perce#"e a &entle note of threat #n what !ou do) then the! as the! search for answers #n those moments of confus#on) the! w#ll loo' #n dar'er and more emot#"e areas and f#nd an! resolut#on less comforta$le( h#s #s surel! prefera$le( So !ou can res#st the ur&e to ma'e a %o'e out of produc#n& a watch or wallet from !our poc'et a#.E hand#n& #t $ac'( 9or e.ample) #n the class#c watch re"eal) our ,safe ma&#c#an m#&ht as') 6/o !ou
ha"e the t#me@= he spectator would loo' at h#s wr#st) and e.per#ence confus#on( hen #t would dawn #n h#m that the ma&#c#an had stolen h#s watch( In that real#sat#on) the -uest#on posed $! the ma&#c#an ma'es sense) and the real#sat#on that the watch had $een stolen #s the ,nome'K of relief! he ma&#c#an produces the watch to lau&hter and del#&ht( ;ather then creat#n& tens#on) the product#on of the watch arr#"es after #t has $een released( It #s almost #nc#dental( Much of the t#me) th#s #s f#ne for our purposes) $ut #t #s not what we reall! want here( Cons#der th#s alternat#"e handl#n&( :ou ha"e stolen the watch) and ha"e #t casuall! held unseen #n !our left hand( :ou are sat some d#stance from the spectator( :ou are ha"#n& a con"ersat#on a$out aspects of the ma&#c and m#nd-read#n&) and are allow#n& !our tone to $ecome ser#ous and &entl! #mpos#n& rather than l#&ht-hearted(( B! ma#nta#n#n& e!e-contact and lower#n& !our "o#ce) !ou allow !our words to de"elop a h!pnot#c -ual#t!( :our $od! lan&ua&e and non-"er$al commun#cat#on su&&est complete ser#ousness on !our part) and the spectator #s drawn #nto that( :ou cont#nue tal'#n&) and sa!) 62 would demonstrate more of what I mean) $ut I do not ha"e the t#me now( :ou"e sat there l#sten#n& to me $r a wh#le) ha"ent !ou@ 5hat #s the :ou stop and suddenl! surge #n !our seat( :ou close !our e!es and #nhale deepl!) clench#n& !our left f#st around the watch and $r#n&#n& #t up #n front of !ou( t#me) an!wa!@= !ou cont#nue as a #f noth#n& had happened) and open !our hand) loo'#n& down at #t a l#ttle $emused( he spectator sees the watch( 9or a moment) he does not reco&n#se #t( hen he does) and %umps( 7And the! do when !ou do #t th#s wa!8( +e loo's at h#s wr#st) and sure enou&h) h#s watch has &one( h#s t#me) the s#&ht of the watch does not pro"#de the resolut#on) #t pro"#des a suddenl! deepl! unner"#n& e.per#ence( here #s no watch st#ll to produce) so no resolut#on #s $e#n& offered( In the class#c presentat#on) the neat solut#on 6oh) he must ha"e stolen #t) wow) I d#dnt feel that #s arr#"ed at "er! -u#c'l!) and there #s some sort of emot#onal closure for the spectator( In our presentat#on here) there #s an #nstantaneous) $#Aarre and unsettl#n& moment when the watch appears to ha"e $een transported( If the spectator does not $el#e"e that the watch really went at that moment) !our statement 6!ou"e $een l#sten#n& to me for some t#me) ha"ent !ou@= del#"ered #n !our h!pnot#c tone) w#ll su&&est the $ac'Dup solut#on that #t was stolen dur#n& that stran&e) mesmer#s#n& con"ersat#on( h#s wa! !ou do not pro"#de the comfort of the #n#t#al presentat#on) w#th #ts safe and relat#"el! pedestr#an end#n&(
6(((
After the watch #s seen) I loo' at the t#me) and sa! 6I must $e &o#n&( It was an #mmense pleasure)= or some such words) and lea"e the watch #n the centre of the ta$le( I do not hand #t $ac') wh#ch would) "er! su$tl!) mo"e the e.per#ence towards that closure that I want to a"o#d( Instead) the spectator has to deal w#th the confus#on and then reach o"er and p#c' #t up h#mself) $! wh#ch po#nt I ha"e &one(
I hope that !ou can see the d#fference $etween the two presentat#ons( Inasmuch as we are loo'#n& for wa!s of ma'#n& ma&#c more powerful) these sh#fts #n approach do com$#ne to create a "er! d#fferent e.per#ence for the aud#ence( Often) when perform#n& the c#&arette-throu&h-sh#rt) there w#ll onl! $e a t#e to steal( he steal #s prepared $efore the effect as descr#$ed a$o"e) and completed #n the e.plo#ted moments of #ntr#&ue and wonder that come after the c#&arette #s seen to ha"e "an#shed( Ber! often) #f 2 ha"e $loc'ed the rest of the &roups "#ew of the preparat#on for the steal) r#o one w#ll $e aware that the t#e has &one( If poss#$le) I wa#t a lon& t#me $efore re"eal#n& #t( I ma! lea"e the &roup) return to them late and perform one or two other effects) $ut not &o#n& too near the same chap( hen I w#ll en&ross h#m #n con"ersat#on #n a s#m#lar wa! that I ha"e descr#$ed $efore) and at the "er! end sur&e #n the same odd wa! and snap the t#e #nto "#ew) each end wrapped menac#n&l! around a f#st #n stran&l#n& pos#t#on one(
A&a#n) the t#me m#sd#rect#on ma'es these steals "er! powerful) $ut I ha"e to $e aware of the r#s' that the spectators ma! not#ce the a$sence of the#r possess#ons $efore I w#sh them too( h#s #s part#cularl! pro$lemat#c #f I lea"e them alone for a wh#le $efore return#n&( +owe"er) the $enef#ts are worth the r#s') for no one w#ll $el#e"e that he had $een s#tt#n& for art hour w#thout h#s t#e( If he does real#se and I do &et as'ed) #t #s of course alwa!s #n a &ood-natured wa!) and th#s #s the t#me to allow #t to $e seen as a %o'e( I as' for a descr#pt#on of the #tem) and then $r#n& out a whole load of th#n&s from m! poc'ets that loo' as #f I ha"e $een steal#n& from e"er!$od!( I l#sh h#s #tem out and as' #f #ts the r#&ht one) then offer h#m an! of the others too(
Of course th#s wa!) word spreads -u#c'l! that !ou are a p#c'-poc'et) wh#ch ma'es further steals more d#ff#cult( But that #s the pro$lem w#th perform#n& p#c'-poc'et#n& wh#le m#n&l#n&) and l#ttle can $e done a$out #t( I hope that I ha"e come to #nterest the ma&#cal performer who has ne"er loo'ed #nto the poss#$#l#t! of perform#n& p#c'-poc'et#n&( It #s "er! effect#"e at enhanc#n& !our character as a performer and the le"el at wh#ch !ou #nteract w#th !our aud#ence( If !ou perform #t #n the normal way, !ou are sett#n& out !our s'#lls as a performer and therefore esta$l#sh#n& the charm#n&l! de"#ous aspects of !our character and that character w#ll enhance the dramat#c #mpact of the confl#cts that !ou set up for !ourself or are #mposed upon !ou( And the part#cular s'#ll #s one that #s normall! at the forefront of !our aud#ences #ma&#nat#on* how man! t#mes ha"e we had spectators %o'#n&l! &ra$ for the#r watches and wallets after sha'#n& hands w#th us@ It #s a treat to then actuall! pro"#de that for them) and #t #s w#thout dou$t an #mmensel! enterta#n#n& s'Ill(
4
P#c'-poc'et#n& pro"#des an e.cellent lesson #n spectator-handl#n&) conf#dence and control) as well as the '#c' of adopt#n& a charm#n& "eneer wh#le s#multaneousl! fleec#n& someone( 5here I once performed #t enthus#ast#call! and openl!) I now use #t onl! to add sp#ce to those ma&#cal cadenAas that "ar! the pace and te.tures of m! performances) and ha"e &#"en #t a dar'er feel for m! more ser#ous act( And there #s noth#n&) nothing l#'e ta'#n& a$use from an arro&ant) #nsult#n& spectator who resents the sh#ft of focus from h#mself to !ou((( and 'now#n& that when he has f#n#shed !ou ha"e h#s wallet and watch to calml! and pol#tel! return( hat #s $eaut#ful) natural dramat#c resolut#on wh#ch has a messa&e of 6/ont mess w#th me(=
;ecreat#on and ;epet#t#on "ro$a$l! e"er! profess#onal close-up wor'er has had the e.per#ence of m#n&l#n& at a $us! e"ent
and perform#n& the one effect) o"er and o"er a&a#n) all e"en#n& and for e"er! &roup( Noth#n& wron& w#th that* #f there #s onl! t#me to show one effect to each &roup) one ma! as well choose the stron&est and most appropr#ate mater#al one has( 3"en #f the s#tuat#on #s not that e.treme) #t #s certa#nl! the case that whate"er we are perform#n&) we ha"e done so man!) man! t#mes $efore( +undreds) ma!$e e"en thousands ol t#mes( +ow man! t#mes ha"e I closed w#th the spon&e $unn#es or three len&ths of coc'#n& rope@ oo man! countless t#mes to tell( h#s #s the s#tuat#on for most performers of an! '#nd #n most areas) $ut $r the close-up wor'er #t #s part#cularl! appl#ca$le* he m#&ht perform h#s act doAens of l#mes #n an e"en#n&( :et each t#me that r#n& "an#shes) or each t#me he unfolds h#s &en#tals onto the ta$le to re"eal the card n##sspelt #n $allpo#nt-pen across the len&th of h#s mem$er) each time #t must appear to $e as fresh and as new as a the f#rst dew-sodden da#s! to awa'en and stretch on a
Monda! morn#n& #n a meadow #n Spr#n& -u#te far $ac' from the road( he answer #s to think fresh( 5hen !ou $e&#n the effect) !ou must tal' and act #n a wa! that utterl! #n"ol"es the spectators) not #n a wa! that feels to them as ## the! are $e#n& tal'ed at( :ou must $el#e"e #n the effect as !ou do #t( I ha"e seen man! ma&#c#ans come out and launch #nto the#r rout#ne) a str#n& of -u#ps and mo"es that lea"e the aud#ence lar $eh#nd(
3"er!th#n& the performer sa!s feels l#'e a l#ne) and all the l#nes are usuall! $ad( It #s patter of the worst '#nd( C#nes) one after another( 5e) the aud#ence) retreat and d#sen&a&e( :ou should not $e launch#n& an!th#n& unt#l !ou ha"e the spectators on $oard( Otherw#se the! w#ll $e stand#n& on the doc's) halfheartedl! wa"#n& &ood$!e as the rout#ne dr#fts off #nto a lonel!) e.pans#"e ocean( No one has come w#th !ou) $ecause no one was #n"#ted( No$od! was ushered and welcomed a$oard) and no one &ot to come and see the $eaut#ful s#&hts of the sh#mmer#n& $lue sea( /o !ou repeat the effect each t#me that !ou do #t@ Or do !ou recreate #t from scratch) $rand new and spar'l#n&) each t#me !ou start@ :ou can recreate #t each t#me in the same way, w#thout #t $e#n& a t#red repet#t#on( And the $est wa! to do th#s #s to ma'e sure that !our spectators are actuall! #n"ol"ed #n each sta&e of the effect( In a closeup sett#n&) a rout#ne such as the O#l and 5ater does not #ncorporate much #n the wa! of part#c#pat#on( So care must $e ta'en to en&a&e the aud#ence w#th !our personal#t! to the e.tent that the! are happ! to) essent#all!) s#t and watch for a moment wh#le !ou show someth#n&( In a platform p#ece that does not #n"ol"e a spectator %o#n#n& !ou) there #s a real dan&er of that lonel! cru#se-for-one( Produc#n& Aces and Ma'#n& h#n&s happen 5#th Some Cards w#ll $ore !our aud#ence senseless unless !our character #s so l#'ea$le and en&a&#n& that !ou are $r#n&#n& th#s #nd#fferent mater#al to l#fe( If !ou) on the other hand) are th#n'#n& that the material itself #s the part that w#ll w#n them o"er) then) well) !ou &et to see all those s#&hts on !our own( 5here !ou can en&a&e a spectator #n the process) do( 5#th#n the restr#ct#ons #mposed $! pac#n&) as well as pract#cal and aesthet#c cons#derat#ons) th#s #s &enerall! a &ood rule of thum$( 3n&a&#n& a spectator does not mean as'#n& her to hold her hand out( hat does not mean that she feels #n"ol"ed( If !ou th#n' that spectator #n"ol"ement #s a$out tell#n& them to put the#r hand here or there) or th#n' of th#s or that) you are wrong, wrong, wrong! hose th#n&s ma! $e #n"ol"ed) $ut !our tas' #s to en&a&e) f#rst and foremost) the#r imaginations! o $r#n& them #n and en&a&e them so deepl!) that when the! do hold out the#r hand or ta'e a card) the! feel a real sense of ant#c#pat#on and suspense( 2-low do !ou ach#e"e th#s@ :ou real#se that the spectators are where the ma&#c happens) not #n !our hands( :ou treat them l#'e real people) who w#ll ha"e the#r c!n#c#sn#s and dou$ts) $ut who can also $e seduced #nto a more respons#"e state( :ou ensure that when !ou are cons#der#n& effects) that #t #s the #ma&e of spectators lean#n& forward and $e#n& emot#onall! "er! present and "er! #n"ol"ed that &#"es !ou the sense of sat#sfact#on) not %ust !our del#&ht of a cunn#n& method( Cunn#n& methods ma! often #nsp#re &reat ma&#c) $ut then the source of the del#&ht has tra"elled to $etter places and the performer has &one on to loo' at far more potent cons#derat#ons( If !ou do not completel! understand th#s* not as an #ntellectual #dea $ut as a clear and re"er$erat#n& $el#ef) then !ou are not perform#n& sat#sf!#n& ma&#c( If !ou do not start loo'#n& at how the $est ma&#c#ans en&a&e the#r aud#ences #nstead of how the! ach#e"e the#r effects) !ou are not mo"#n& forward as a ma&#c#an If !ou do not real#se) to paraphrase 3u&ene Bur&er) that a
small handful of tr#c's can suff#ce for the rest of !our l#fe $ut that #t #s how you connect them to your audience that #s #mportant) then !ou should( pro$a$l!) #n all fa#rness) restr#ct !our performances to the amateur le"el( If !ou do understand th#s ma.#m) and !ou resonate #t as !ou seduce !our aud#ences #n whate"er manner f#ts !our st!le) then !ou w#ll ha"e the necessar! tool to fac#l#tate the recreation, as opposed to the repet#t#on of the effect as !ou $e&#n) #f !ou are thinking fresh) and #f !ou ha"e #n"ol"ed !our aud#ence and &ot to 'now them a l#ttle) and !ou are ensur#n& that the! are utterl! #n"ol"ed and #ntr#&ued $! the poss#$#l#t! of what !ou ma! do) then !ou w#ll not $e ,latmch#n&) !et a&a#n) #nto the same old rout#ne( :ou w#ll $e e.c#ted !ourself to &#"e them a certa#n e.per#ence that !ou 'now w#ll mo"e them) unner"e them or del#&ht them #n some wa!( 0ou cart den! !ourself th#s en%o!ment) and %ust slo& out tr#c's e"er! t#me !ou perform( :ou can spo#l what I am con"#nced) after ten !ears or so) #s the $est %o$ #n the world 7or second onl! to the Chec'er Of Cameron /#a#s Breasts8) $! reduc#n& #t to dance, magic :onkey, dance& :ou can choose to settle for the wear! fam#l#ar#t! of the %aded "eteran or the $ounc! enthus#asm of na#"et!) $oth of wh#ch stop !ou from reall! cons#der#n& what could happen when !ou s#t down w#th a &roup) armed w#th the talent for creat#n& wonder and thou&ht that !ou ha"e( :ou could den! !ourself all of th#s) and %ust do tr#c's at people) $ut I dont th#n' for a moment that !ou should #mpose that l#m#tat#on upon an aud#ence who ha"e e"er! r#&ht to e.pect far more(
*#ne act#n& #s a %o! to watc' 5hen I see such talent on sta&e or #n a f#lm) I f#nd that 2 feel safe
enou&h to lose m!self #n that character( 2 'now that noth#n& w#ll suddenl! %ar or lea"e me uncon"#nced( h#s feel#n& of safet! to lose oneself #s a '#nd preparedness to $e "ulnera$le) and th#s means that we plac#n& our trust #n that actor( o ha"e h#m suddenl! do h#s %o$ $adl! and lose us half wa! throu&h the stor! would $e a terr#$le $etra!al on h#s part( I en%o! the compan! of actor fr#ends( 5hereas drama-students are #n"ar#a$l! repellent( I f#nd that mature and comm#tted actors &enerall! offer the most reward#n& and #ns#&htful compan! I could e"er hope for One of those mar"ellous people #s Peter Cl#fford) a "er! f#ne esta$l#shed actor and one of the $est ma&#cal performers I 'now( I tal' w#th Peter a lot a$out act#n&( /ur#n& a recent con"ersat#on) that rolled on late #nto the n#&ht o"er $ad wh#s'! 7h#s) not m#ne8 and tea) I was #ntr#&ued to hear m! fr#end sa! that when he wal's out on sta&e) he does not 'now what an! of h#s l#nes are( After so r#&orousl! comm#tt#n& them to memor! $efore and dur#n& the rehearsal process) he must then allow h#mself to for&et them( 9or&et) that #s) at a consc#ous le"el( +e ne"er m#sses a l#ne( But when he wal's out on sta&e) he does not know what hes going to say until the words caine out of his mouth! 3"er!th#n& #s $e#n& sa#d for the f#rst t#me( ;eturn#n& to our earl#er theme of recreat#on and repet#t#on) Peters performances are $e#n& recreated each t#me he $e&#ns) and ne"er repeated( Peter wal's out there and #s the part( Onl! on $ad n#&hts does he ha"e to start Dact#n&( If the aud#ence #s unrespons#"e and the mood bad, he ma! start to feel #nsecure and tr! and &#"e more to h#s performance) wh#ch #n"ol"es suddenl! consc#ous act#n&( At that moment) the performance $ecomes a "eneer) and #t #s at those t#mes that the scr#pt suddenl! pops $ac' #nto h#s m#nds e!e( An awareness of h#s l#nes const#tutes an #nele&ant and detr#mental scenar#o for the actor(
I ha"e no dou$t that some actors of s#m#larl! h#&h cal#$re ma! not f#nd s!mpath! w#th th#s e.per#ence( But I l#stened to Peters descr#pt#on of the process) and thou&ht of the relat#onsh#p that a ma&#c#an that pecul#ar t!pe of actor has to h#s scr#pt( he e.per#ence flashed throu&h m! m#nd of a performance I had seen #n the close-up sect#on of a local con"ent#on) and one that #s t!p#cal of man!( h#s was the !oun& and techn#call! &#fted $r#&ht star of the areas clu$) perform#n& card tr#c's perfectl! well $ut '#ll#n& them dead $! rec#t#n& a stream of patter l#nes at us( here was no spontane#t!) r#o charm) no l#'ea$#l#t! and no connect#on made w#th an!$od!( +e had not !et found h#s character) and was merel! ap#n& the &ener#c model of the ma&#c#an) wh#ch #s so seduct#"e to the enthus#ast( I "er! much loo' forward to h#m de"elop#n& the self- awareness necessar! to f#nd h#s performance character from w#th#n h#mself ar#d not those around h#m(
4 /
+e had a scr#pt #n n##rtd) whether or not #t had e"er $een wr#tten down) and was rec#t#n& #t at us( 5e sat there and heard l#nes( 5hen a performer does t!at, the words seem to emanate from the mouth onl!( 5hen) $! compar#son) we watc! a talented actor) the words
resonate from a deeper place( here #s an #nsepara$le sense #n wh#ch th#s #s l#terall! true) for few ma&#c#ans ta'e the trou$le to learn a$out "o#ce product#on( 5hen we tal' a$out someone tal'#n& ,from the heart) we are descr#$#n& words that emanate from the depths of someone) and wh#ch con"#nce us of the#r s#ncer#t!( he actor and the e-u#pped performer of an! '#nd) produc#n& a freer and more resonant "o#ce from deeper w#th#n h#mself) w#ll more read#l! commun#cate that sense of s#ncer#t! than the t#nn!) forced "o#ce of the ma&#c#an stra#n#n& to $e heard o"er no#se( But e"en w#thout #n"est#&at#n& "o#ce and speech techn#-ues) the l#nes spo'en as l#nes that come from the performers consc#ous memor! throu&h the mas' and out of the mouth $!pass an! po#nt of resonance and do not connect w#th us at th#s $as#c le"el( B! contrast) the performer who has allowed h#mself to for&et a$out techn#-ue and patter 7ha"#n& f#rst a$sor$ed these th#n&s throu&h !ears of de"elop#n& them8 ar#d s#mpl! and honestl! #s for the durat#on of the act the character that he portra!s) w#ll resonate con"#ct#on -u#te naturall!( It surpr#ses me that a ma&#c#an who #s st#ll perform#n& at the le"el of sa!#n& words at h#s aud#ence does not s#mpl! hear that #ts &o#n& wron&( 5hen techn#call! fu#m! l#nes do not rel#a$l! &et a $#& lau&h) then I would #ma&#ne a clear s#&nal has $een sounded that someth#n& #s not wor'#n&( he #ne.per#enced performer pro$a$l! $lames the l#ne) #f he #ndeed not#ces that ston! s#lence at all( +e m#sses) sadl!) the fact that #f he had the aud#ence f#rml! en&a&ed #n h#s personal#t!) the! would pro$a$l! f#nd an! funn! l#nes -u#te h!ster#cal( h#s $#Aarre $l#ndness and deafness to feed$ac' #s remar'a$l! common amon&st performers $ut I suppose that when all else fa#ls) a stra#&htforward refusal to face real#t! can $e an #mmense comfort( In Ne"#l Mas'el!nes words)
4
6the possess#on of an #ntellect so o$tuse) and a h#de so pach!dermatous) must confer upon the possessor a de&ree of self-sat#sfact#on un'nown to men of real a$#l#t!(= I can onl! #ma&#ne that the performer #n -uest#on #s st#ll wor'#n& from the standpo#nt of ,do#n& tr#c's at people and #s thus loc'ed #n h#s own world of techn#-ue dur#n& performance( If !ou are en%o!#n& or th#n'#n& a$out the secret methods as !ou perform) or #f #t #s the del#&ht of those factors that attract !ou to art effect) then real#se that !ou are on !our own when !ou do them( he whole po#nt of a secret method #s that no one else &ets to apprec#ate #t( 5a"e &ood$!e to e"er!one at the doc' and start do#n& !our tr#c' to !ourself as !ou sa#l out of earshot #nto the "ast $lue( As actors pla!#n& the part of ma&#c#ans) we ma! ha"e to commun#cate a num$er of emot#ons) depend#n& upon our character and h#s relat#onsh#p to the mater#al( Some of the follow#n& emot#onal slates and o$%ects ol ma'e-$el#e"e are usuall! part of our reperto#re*
S S S S S S
Awe and wonder at the ma&#cal cl#ma.( Surpr#se at the orchestrated une.pected happen#n&( Power) perhaps w#th a s#n#ster ed&e( Confus#on or loss of control) when someth#n& has appeared to &o d#sastrousl! wron&( Concentrat#on and mental effort( he a$#f#t! to see deepl! #nto the ps!che of the spectator(
In the n#neteenth centur!) the !oun& Stan#sla"s'# wrote that he was #mpressed w#th the natural and eas! performances of fore#&n art#sts "#s#t#n& the contemporar! Moscow theatre( +e compared these w#th the e.a&&erated) declamator! techn#-ue of the ;uss#an trad#t#on of wh#ch he was st#ll a part( In h#s :y #$e %n )rt 7a &reat t#tle that I w#ll steal one da! for m! own auto$#o&raph!8) he sa!s that these new) western actors created, whereas he was onl! a$le to #m#tate what others had done $efore( h#s man) who was to $ecome the dom#nant #nfluence on actor tra#n#n& toda! and the creator of the ,S!stem of modern) real#st act#n& 7wh#ch #n turn #nsp#red the Method approach w#th wh#ch we are fam#l#ar8) was laced w#th the sharpl! contrasted d#fference $etween act#n& that flowed eas#l! from the heart and the forced presentat#on of a cl#chO) wh#ch was the standard fare( Clearl! as ma&#c#ans we are not faced w#th the same strenuous demands on our act#n& a$#l#t#es as the actor who prepares for The Cherr! <rchard, Kncle $rinya or CaEs( :et #t #s clear that most ma&#c #s presented uncon"#nc#n&l!) and does not emanate from an!where deeper than the f#n&ers) so #t #s worth the effort of de"elop#n& an awareness of these #ssues) and learn#n& to de"elop the $est ha$#ts( So much of th#s $oo' #s $ased upon the con"#ct#on that when the ma&#c $e&#ns inside us as performers) and resonates throu&h our personal#t#es as well as our effects) we w#ll commun#cate far more) and more ma&#call! than the performer who #s no more than the sum of h#s tr#c's( Go&ol) Stan#sla"s'#s all!) wr#tes that the actor 6ou&ht to cons#der the purpose of h#s role) the ma%or and predom#nant concern of fh#character) what #t #s that consumes h#s l#fe and const#tutes the perpetual o$%ect of h#s thou&hts) h#s ideefi7e! +a"#n& &rasped th#s ma%or concern) the
actor must ass#m#late #t so thorou&hl! that the thou&hts and !earn#n&s of h#s character seent to $e h#s own and rema#n constantl! #n h#s m#nd o"er the course of the performance((( So) one should f#rst &rasp the soul of a part not #ts dress(=
Eikolay Aogol, pp( 2UF-?1 +ow man! ma&#c#ans &rasp the soul of the#r performance character $efore pa!#n& attent#on to the#r costume and props@ 5r#t#n& to Schep'#n #n 2GTU) Co&ol sa#d*
6;oot out car#cature ent#rel! and lead them to understand that an actor must not present $#n
transmit!
Presenting ma&#c rather than transm#tt#n& #t recalls our unhapp! #dea of doing tricks at people! he "ast ma%or#t! of ma&#c#ans are happ! merel! to present ma&#c( Most of those w#ll onl! transinil to the#r "ar#a$l! detached aud#ences that the! ha"e a ho$$!) and the#r ma&#c w#ll $e loo'ed on as) at $est) cle er! rerhaps the most str#'#n&l! appropr#ate part of Stan#sla"s'#s S!stem as re&ards our art #s the ,ma&#c %f! Ima&#ne for a moment how !ou m#&ht con"e! an! of the emot#onal states l#sted earl#er( 2-low m#&ht !ou ,act confused) surpr#sed) or $r#mm#n& w#th wonder@ Certa#n fac#al e.press#ons ar#d "o#ce patterns ma! come to m#nd( Now #ma&#ne #f an actor) who #n the m#ddle of an ent#rel! con"#nc#n& pla! or f#lm needed to con"e! fear) %ust ,acted scared #n the most mundane sense of the word( +e trem$led h#s l#ps) cowered and $#t at h#s na#ls( 5e would reco&n#se the commun#cat#on as one of fear) $ut we would not for a moment $el#e"e #t( here #s the cl#ched( #ma&e of fear) a$stracted from the s#tuat#on at hand) and there #s the fear felt $! that character) who sees the #mpl#cat#ons of his situation!
I was struc' w#th the #mpact that th#s d#fference ma'es a few wee's a&o( Br#stol) where I ma'e m! home) #s near to the $eaut#ful Geor&#an c#t! of Bath) whose stonewor' and del#&htful streeta&e r#"al onl! the udor charm of Stratford or Sw#ndon( An! "#s#tor to Bath #s recommended to ta'e #n the ,B#Aarre Bath wal') a super#or $lend of ma&#c) comed! and m#slead#n& local h#stor! performed $! << and Noel Br#tten) two "er! esta$l#shed Br#t#sh performers( I shall attempt to ma'e m! po#nt here w#thout &#"#n& awa! one of the surpr#se h#&hl#&hts of the wal'( Noel was lead#n& the wal' on the n#&ht I attended) and #t happens dur#n& the course of the e"en#n&s enterta#nment that an #tem) $orrowed from the aud#ence) #s ,acc#dentall! lost( Not "an#shed) $ut terr#$l! and #rre"oca$l! lost( o con"#nc#n&l! commun#cate the flurr! of pan#c'! emot#ons wh#ch such a d#saster would pro"o'e #s a tas' that man! ma&#c#ans attempt and fa#l to ach#e"e( h#s #s $ecause the! $!) #f an!th#n&) to ,act pan#c and present a cl#chO) detached form the e"ent l#'e our $ad actor suddenl! cower#n& #n fear l#'e a cartoon character( Noel emplo!ed Stan#sla"s'#s ma&#c %f h#s means that rather than act the emot#on) the s'#lled actor $eha"es as
if
happen T the s#tuat#on had occurred to h#s character( h#s tr#c's the #ma&#nat#on #nto ta('#n& the route of con"#nc#n& real#sm( Cons#der the d#fferent wa!s that !ou respond to these -uest#ons* S S +ow do I loo' pan#c'!@ 5hat would I do #f I had reall! lost th#s "alua$le #tem@ 5hat would that mean@
As #t was) Noel stared and stared at h#s ,n>%Dth'e as we all too' #n the #mpl#cat#ons of the acc#dent( +e) too) was deal#n& w#th the #mpl#cat#ons throu&h tmconsc#ous use of th#s procedure( 9or a wh#le) he loo'ed(() then he tr#ed to re"ert to character and ma'e a few &a&s) wh#ch &ot uneas! lau&hs((( he tr#ed to appear comforta$le and re&a#n profess#onal composure $ut was una$le to loo' awa! from wh#t he had done( +e e"en lau&hed( Now) !ou ma! protest that spectators ne"er $el#e"e that the $orrowed #tem has really $een lost( In"ar#a$l! when someth#n& &enu#nel! terr#$le happens) such as a $orrowed r#n& m#ss#n& #ts tar&et and roll#n& $eaut#full! across the crowded dance-floor) the performer #s ne"er $el#e"ed when he tr#es to e.pla#n that someth#n& reall! has &one wron&( But there are d#fferent le"els of $el#ef) and these th#n&s rel! on the s#&nals &#"en $! the performer( 5hen Noels catastrophe happens) we
are also thrown for a moment) and loo' to h#m for the t#n! cues and clues that w#ll &u#de us to $el#ef or d#s$el#ef( C#'e the $eha"#our needed to con"#nce the aud#ence that the moment of ma&#c #s $eaut#ful or unner"#n& rather than %ust confus#on) the performer who must con"e! &enu#ne pan#c #s there &u#d#n& a moment of $ew#lderment and #nsecur#t! felt $! the &roup #nto the dramat#call! reward#n& area of con"#ct#on that a m#shap has happened( Gett#n& th#s r#&ht seduces the aud#ence #nto a closer emot#onal relat#onsh#p w#th the performer( amar#A has also spo'en much a$out con"#nc#n&l! con"e!#n& moments of apparent m#shap( :et #t #s necessar! to for&et these th#n&s( he place for consc#ous cons#derat#on of these #ssues #s for our rehearsal space( In performance) we must ha"e these ps!cholo&#cal a$#l#t#es so f#rml! #n place that the! $ecome second nature( In that wa!) the new $ecomes or&an#call! our own) and we are unaware of techn#-ue( hese th#n&s must $ecome natural and fam#l#ar responses( If th#s seems d#ff#cult
and unfam#l#ar terr#tor!) create #n !our m#nd a scenar#o or memor! that ma'es !ou feel the des#red emot#on ampl#f! #t and represent #t #n a $r#&ht) "#"#d wa! to !ourself4 and not#ce how the feel#n& creeps up on !ou) how #t mo"es throu&h !ou) what #t feels l#'e #n !ou( Cet !ourseff remem$er the feel#n& dearl! and pract#se $r#n&#n& #t $ac'( Know how !ou feel) and then allow that to $e tr#&&ered $! the re-u#s#te moment #n !our performance) hese sorts of e.erc#ses w#ll allow !ou to see that !ou can $r#n& #nto pla! an! emot#on of wh#ch !ou ha"e some e.per#ence) whene"er !ou want) s#mpl! $! call#n& that state to m#nd throu&h a "#"#d recollect#on of the c#rcumstances that tr#&&ered #t( hen !ou can for&et a$out act#n& a cl#chO) present someth#n& that resonates honest!)
4
and th#n' and feel alon& the l#nes of ,what would I do #f th#s were reall! happen#n&(((@ he result of th#s approach w#ll $e ma&#c that #s V2 $! !ou) and therefore powerfull! transm#tted and recreated) not coldl! presented and repeated( he onl! reason to do th#s) other than to ma'e #t more reward#n& for !ou) #s to ma'e !our ma&#c far) far stron&er(
6Antes sO -ue mat acompar#hado(= JFetter alone than in bad company Portuguese pro erb!
/
couple of !ears a&o I was $oo'ed to perform for a $#rthda! part! held #n a restaurant( It was a lar&e &roup of fr#ends #n the#r twent#es and earl! th#rt#es) and the! were all "er! respons#"e to m! ma&#c( he! were a n#ce $unch of people to wor' for) enthus#ast#c #n the#r responses and ph!s#call! attract#"e(
I was surpr#sed some s#. months later to f#nd m!self ne.t to three of them at a re&#onal ma&#c con"ent#on( It seems that th#s core tr#ad of fr#ends had de"eloped a real #nterest #n ma&#c follow#n& m! daAAl#n& appearance that n#&ht( 5h#ch) for +ea"ens sa'e) onl! ma'es sense( Chatt#n& to them pro"#ded some d#strachon from the tur&#d parade of sta&e ,acts wh#ch) as e"er) const#tuted a ser#es of charm#ess people #n ta#ls show#n& us) to the accompan#ment of Ban&el#s) some props wh#ch the! had $ou&ht( S#. months after that I &ot a phone call from one of the three) as'#n& to meet( heft #nterest #n ma&#c had cont#nued to flour#sh) and the! wanted a few po#nters( As d#ne went on) we all $ecame fr#ends) and the three started to wor' profess#onall! as a &roup) a tr#o of ma&#c#ans that wor' the &run&! clu$ and fest#"al c#rcu#t( And the! do so $r#ll#antl!(
he! ha"e onl! $een( perform#n& for a !ear or so) and w#ll $e the f#rst to sa! that the! st#ll ha"e man! en%o!a$le !ears ahead of them to de"elop and $u#ld on what the! are learn#n& now) techn#call! and dramat#call!( But these three &o out and perform far) far $etter than the ma%or#t! of wor'#n& ma&#c#ans that I ha"e seen who ha"e had ten !ears to ref#ne the#r performance( Cet me descr#$e them( he! wear -sh#rts and %eans) o$"#ousl! hea"#l! #nfluenced $! the #ma&e and en&ross#n& personal#t! of /a"#d Blame( One #s co"ered l#terall! #n tattoos and has a sha"ed head( +e teaches a#-Ch# and carr#es w#th h#m the sweet aroma of top- &rade home-&rown mar#%uana( he second #s a$surdl! tall and has an a#r a$out h#m of a carn#"al attract#on from the B#ctor#an per#od( he th#rd #s a fast-tal'#n&) duc'#n&-and-d#"#n& chee'! dod&! coc'ne! chapp#e whom !ou l#'e enormousl! w#th#n m#nutes $ut wouldnt as' to &uard !our car for a moment wh#te !ou n#p #nto the shop(
/ /
hese three wor' #n the most d#ff#cult of surrou##d#n&s and are e.actl! the r#&ht t!pe of people to do so( he! constantl! pract#se and when I hear the#r #deas for presentat#ons) I am drawn to the#r or#&#nal#t! and complete ded#cat#on to present#n& plaus#$le) unner"#n& ma&#c( 5hen the tattooed mem$er of the &roup performs) he $r#n&s h#s 'nowled&e of a#-Ch# #nto h#s wor') downpla!#n&) for e.ample) the use of an I ; as a demonstrat#on of ,palm-$reath#n&* allow#n& a $ottle cap to r#se and fall rh!thm#call! #n h#s hand( 5hen he performs the Balducc# le"#tat#on) he f#rst #n"o'es the Sun &ods( Nu#te ser#ousl!( People $u! #nto #t) and #t &#"es h#m a means of pos#t#on#n& h#mself correctl! for the effect( Alternat#"el!) the! le"#tate each other across the room us#n& a concealed s#&nal de"#ce(
these are three performers who ha"e a modest and str#'#n&l! mature att#tude to the#r ma&#c( he! a$sor$ #deas l#'e spon&es) and understand the#r n#che and part#cular appeal( A$o"e all) the! ha"e an or#&#nal#t! #n the#r presentat#on wh#ch has come from pursu#n& the aesthet#c wh#ch the! had #n m#nd for themsel"es( he! are aware of the#r characters as performers( he! 'now onl! too well a$out the #mportance of ma'#n& the#r ma&#c mean#n&ful for the#r aud#ences) for the! are wor'#n& w#th potent#all! "er! unfor&#"#n& and restless crowds( he! ha"e learnt from actuall! perform#n&) and from s#tt#n& w#th each other e"er! da! and pla!#n& w#th mo"es and #deas( he! ha"e not learnt from attend#n& lectures and ma&#c clu$s( he result #s that the! present ma&#c that #s magical and persuas#"e) for #t would not occur to them to do an!th#n& else( It would not) for e.ample) occur to them to f#ll the#r presentat#ons w#th one-l#ners( Ne#ther would the! use the patter and personal#t! of the#r fa"our#te performers( he! would not perform effects that were out of l#ne w#th the#r respect#"e characters(
5hen I compare them to the $ul' of ma&#c#ans who perform #n one capac#t! or another) #t #s clear that these three &u!s are far more #ma&#nat#"e than the $ul' of what the ma&#cal fratern#t! puts out( 5or'#n& toðer) the! ha"e -u#c'l! come to understand the #mportance of s#mple performance-related and ma&#cal $as#cs that seem to $e m#ssed $! the performers who are supposedl! $e#n& &u#ded and tau&ht $! clu$s) or who are apparentl! &lean#n& 'nowled&e and #mpro"ement from lectures and con"ent#ons( It #s eas! to ma'e that cr#t#c#sm w#thout f#rst see#n& that to en%o! ma&#c as a ho$$! #s a perfectl! no$le th#n&) and that clu$s are &enerall! set up for ho$$!#sts( But as omm! 5onder sa!s) #f !ou are a ho$$!#st) !ou pro$a$l! shouldnt &o out and perform( Perform#n& our art) espec#all! for an aud#ence of non-ma&#c#ans) demands the h#&hest standards and a 'nowled&e and fluenc! w#th the stuff of performance( It #s "er! d#fferent from show#n& tr#c's to fr#ends and fellow enthus#asts) wh#ch #s a f#ne th#n& $ut $elon&s to a d#fferent arena( :et th#s creates a "#c#ous c#rcle( he ho$$!#sts who ma'e up most aud#ences at con"ent#ons and clu$s are #nterested #n p#c'#n& up new tr#c's) not learn#n& a$out performance( he! feel that the! ha"e a r#&ht to 'now all the methods and secrets of an esta$l#shed profess#onal s#mpl! $ecause he #s $e#n& pa#d to lecture) $ut are &enerall! less #nterested #n the real &lue that $#nds those secrets toðer* the performance #tself( Good) profess#onal performers who ta'e the#r ma&#c ser#ousl! w#ll create effects $orne from an understand#n& of themsel"es as characters) for #t #s th#s that $e&ets the#r personal#t! #n performance( h#s means that for man! performers) m!self #ncluded) some effects are #mmensel! personal! +a"#n& someone else perform !our mater#al $adl! can $e l#'e watch#n& a ne#&h$our sodom#Ae !our pets( And I 'now what thats l#'e( Unfortunatel!) there #s not a &l#mmer of understand#n& of th#s truth from the amateur commun#t! at lar&e( Ima&#ne that #nstead of $e#n& ma&#c#ans) we were stand-up comed#ans( Amateur) sem#profess#onal and full-t#me pros) we would &o out and $r#n& the ma&#c of lau&hter to aud#ences) 5e would learn mater#al) we would de"elop and pract#se #t) shap#n& #t to ha"e the most powerful #mpact( 5e would de"elop our own characters) and create mater#al to su#t oursel"es( hen once a !ear) we would hold con"ent#ons( Comed#ans would &ather from around the world to en%o! each others compan!) meet the famous) and #mpro"e somehow as performers( al's would $e &#"en) -uest#ons answered $! star performers) and the whole th#n& would end w#th a &ala show( Clearl!) at those tal's) the enthus#asts would hear a$out del#"er!) de"elop#n& mater#al) t#m#n&) character-creat#on and how to ma'e #t #n a d#ff#cult $us#ness( he enthus#asts would $e #nsp#red $! the e.per#ences of the people the! respect and would use the#r e.ample to mo"e further down theft own paths w#th more understand#n&( Can !ou ser#ousl! #ma&#ne that those tal's would e"er cons#st of top performers) respected $! the#r aud#ences) stand#n& and d#ctat#n& the#r %o'es one at a t#me wh#le people wrote them down@ hat each performer would $e e.pected to s#mpl! rec#te a lon& l#st of &a&s and #n"#te the aud#ence to &o out and start us#n& h#s l#nes the ne.t da!@ Can !ou see how po#ntless that would $e@ And how terr#$le for the lectur#n& performer who #s e.pected to remo"e the "er! stuff of comed! from h#s performance and reduce #t to a l#st of %o'es@ Now) for those that cannot attend) there are "#deos a"a#la$le( hese are not the "#deos that standup comed#ans actuall! en%o! at the moment) where the! can see the#r #dols #n performance) wor'#n& the crowd and &ett#n& the most out of the#r mater#al* no) these would $e #n- house "#deos for comed#ans wh#ch) a&a#n) cons#st of those same top performers l#st#n& %o'es( :ou would watch the tapes) wr#te down the ones !ou l#'e 7an on-screen la$ell#n& s!stem e"en allows !ou to cue $ac' and forth to part#cular fa"our#tes8 and &o out and use them( If we follow th#s #ma&e throu&h) we can see how comed#ans would $ecome utterl! #nterchan&ea$le and lose the s'#lls that ma'e them funn!( All o"er the world the! would tell the same %o'es( All o"er the world aud#ences would lau&h pol#tel!( he comed#ans would not worr!
a$out pe'forrning those %o'es) the! would %ust tell them) $el#e"#n& that the %o'e #tself would $e enou&h to $e comed!(
Comed!) as a performance &enre) would $e seen as #dent#cal to what happens when someone tells a %o'e after d#nner( he top) profess#onal comed#ans who were st#ll &enu#nel! artful at what the! do) would ha"e to deal w#th the fact that the#r "er! profess#on was $rou&ht #nto d#srepute $! a world of fr#ends tell#n& %o'es $adl! to one another( 5orse) those fr#ends tell#n& %o'es would $e the ones l#sten#n& to the lectures) not#n& down the %o'es &#"en to them $! 7he top profess#onals who can onl! watch that c#rcle $r#n& the whole #ndustr! downh#ll( I lo"e watch#n& &ood comed! and am pleased that #t has not &#"en r#se to -u#te the same t!pe of scene that we ha"e #n ma&#c( I am pleased that comedSns ha"e real respect for each others art( It is a "er! &ood th#n& that comed#ans frown upon pla&#ar#s#n& mater#al from each other( I l#'e the fact that wh#le) l#'e most performance &enres) #t attracts at the amateur le"el a -uota of enthus#ast#c $ut $ad would-$e performers) the comed! #ndustr! does not cater primarily for that percent#le( he result of th#s sad approach #n ma&#c #s that e"er!one #n the ma&#c fratern#t! apart from the no"#ce enthus#ast has an area of d#s#f#us#onment w#th#n h#m when cons#der#n& the ,scent Cecturers 'now that the #mportant po#nts re&ard#n& performance are not what the#r tr#c'-hun&r!) o"er-saturated aud#ences want) althou&h #t #s a$solutel! what the! should hear( So the! turn theft lectures #nto dealer-demonstrat#ons) or choose to perform the#r second-rate mater#al wh#ch the! are happ! to e.pla#n( B! far the $est lecture I ha"e attended was &#"en $! amar#A on the correct placement and use of comed! #n ma&#c( Ue tau&ht me th#n&s that I d#d not 'now #n a wa! that made sense and was utterl! memora$le( No tr#c's were tau&ht( +ow rarel! do we lean th#n&s at con"ent#ons that are actuall! #mportant to us as performers@ I full! real#se that the no"#ce performer has to ape h#s #dols for a wh#le to f#nd h#s &round) and #n order to learn the mo"es and #deas that w#ll form the wor'#n& $as#s of h#s own future effects w#ll pro$a$l! ha"e to ta'e mater#al from other performers for a wh#le( But such performers as Gu! +oll#n&worth and Cennart Green) fa"our#tes of the commun#t!) learnt the#r or#&#nal approaches w#th l#ttle recourse to the teach#n&s of others* the! sat and pla!ed w#th cards #n comparat#"e #solat#on and arr#"ed at the#r own dest#nat#ons) ones that appear to su#t them mar"ellousl!( he three lads I descr#$ed) thou&h #nfluenced at f#rst $! the Blame reperto#re) followed the#r own presentat#onal #deas and now perform) #n the ma#n) "er! or#&#nal ma&#c( he ma&#c commun#t! does not promote creat#"#t!( People ma! en%o! the fratern#t! for "ar#ous reasons) $ut a personal dr#"e to create or#&#nal performance art #s not one of them( Ma&#c #s a wonderful ho$$!) and the opportun#t! to share #t w#th fellow enthus#asts #s a &ood th#n&) $r#n&#n& people toðer and 'eep#n& them safel! off the streets and awa! from ch#ldren( But #t #s a rare ma&#c clu$ that #s prepared to reall! teach #ts mem$ers a$out performance) and ma&#c #s not magic w#thout performance( In #solat#on) we can learn to de"elop the creat#"e process for oursel"es( hose perform#n& ma&#c#ans who sa! that the! are s#mpl! not creat#"e tal' nonsense* #f the! can perform well enou&h) the! can $e&#n to th#n' alon& theatr#cal and aesthet#c terms- he tr#c' #s to chan&e !our approach from a pass#"e one #nto an act#"e one(
Pass#"#t! and laA#ness amon&st ma&#c#ans are e"er!where( he more we learn from "#deos and l#ft rout#nes out of $oo's) the laA#er we $ecome( he creat#"e) act#"e approach #s d#fferent* we dec#de on an effect wh#ch would $e mar"ellous to ach#e"e and then &#"e oursel"es the space to f#nd the solut#on) 5e learn throu&h pla!) perhaps $! focuss#n& attent#on on a dec' of cards for a few hours a da!) f#nd#n& #nterest#n& new #deas there( Be careful) thou&h) w#th the latter approach* for f#nd#n& a method $efore an effect often produces ma&#c far more sat#sf!#n& to perform than watch But whate"er we ach#e"e on our own #n th#s wa! w#ll $e indi idual to us* #t w#ll ha"e stamped upon #t the hallmar' of our personal#t!( he more we tread th#s path and ref#ne our creat#ons) see#n& them ent#rel! from the aud#ences an&le) the more our ma&#c w#ll resonate an #nd#"#dual approach worth e.per#enc#n&( here #s noth#n& l#'e the moment of d#sco"er#n& the solut#on to a creat#"e pro$lem( 9or me8 #t #s normall! one of d#sco"er#n& a presentat#onal structure or approach that w#ll enhance and &#"e mean#n& to a ma&#cal #dea( 5hen 2 f#nd the answer that wor's for me) I am elated( 2 do not e"en as' for fr#ends to su&&est those answers) $ecause I would hate to den! m!self that moment) or $e seduced $! someone elses "#s#on( S#nce prett! much a$andon#n& the performance of an!one elses effects) I ha"e come to en%o! ma&#c #n a "er! d#fferent wa!* and e"er!th#n& I now perform #s) #n m! m#nd) as &ood as ma&#c can $e( he onl! wa! an! ma&#c#an can reall! feel th#s) and $el#e"e #n h#s worth) #s $! des#&n#n& and perform#n& h#s own rout#nes to h#s own h#&hest standard( 9or those who are unfam#l#ar w#th th#s aspect of the ma&#c#ans l#fe) #t #s a trul! splend#d one( Br#stol offers some charm#n& countr!s#de throu&h wh#ch to stroll alone and dream up solut#ons to $eaut#ful) ma&#cal p#ctures( It means that when I do &o out and perform) I am putt#n& these #deas #nto pract#ce) and ref#n#n& them as much as I feel #s poss#$le( hat ma'es each performance an e.cellent opportun#t!) and far more #nterest#n& to me than when I was %ust present#n& a str#n& of dealer #tems( It does not ta'e lon& to &a#n a &rasp of the $as#cs of ma&#c) and most #mportantl!) to &a#n the ma&#cal) decept#"e m#nd-set that !ou need to th#n' up #deas( As soon as those are #n place) #t should $e t#me to start to follow !our own "#s#on of what ma&#c should $e( 5hat are !ou loo'#n& for when !ou $u! those dealer #tems@ 5hat str#'es !ou as a &ood t!pe of effect@ 5hat $#nds all those &ood effects toðer for !ou@ 5h! do !ou #&nore certa#n others@ +ow could the! $e $etter) e"en the ones that are alread! !our fa"our#tes@ If !ou can $e&#n to #dent#f! the -ual#t#es that !ou see as most #mportant #n a ma&#cal effect) !ou w#ll $e&#n to &et a sense of !our own approach to the art( Ne.t) !ou can $e&#n to dream up #deas for effects alon& s#m#lar l#nes( Create w#ld and #mposs#$le #deas) $ut ones that are clear and s#mple #n the#r wondrous #mposs#$#l#t!( hen start to th#n' of answers) and pla! w#th the #deas w#thout comprom#s#n& them( 5or' from the top-down) not $ottom-up* #(e() start w#th the $#& p#cture and wor' down) lea"#n& the #ntr#cac#es of the sle#&hts for last) for the! are reall! the least #mportant aspect of the whole( If !ou f#nd !ourself wor'#n& #n the wron& d#rect#on) from the #nd#"#dual mo"es upwards) return to the lar&er p#ctures and the &rander #deas( Allow !ourself to th#n' for the moment #n terms of lasers) tw#ns and #mposs#$le r#&s of mach#ner!* th#n' $#&) and after a wh#le !ou w#ll h#t a moment of a$solute #nsp#rat#on( h#s demands of !ou the "er! oppos#te of the d!nam#c of the ma&#c clu$( h#n'#n& #n th#s &rand wa! #s not a$out shar#n& #deas) nor #s #t a$out settl#n& for the standards of the amateur( It #s a$out a personal -uest) and a pass#onate search for an #deal) and #s the stuff that ma&#c #s made oC If !ou are a ho$$!#st) th#n' $#&&er than %ust hobby! 2 would hate !ou to $ecome one of those em$arrass#n& Undes at Chr#stmas( Be&#n the creat#"e chan&es #n the approach to !our performance) and &#"e !ourself the respect and the effects the we#&ht that the! deser"e( Start to see the mater#al of other performers that !ou watch #n lectures or on "#deos as their mater#al) and althou&h !ou ma! ha"e the right to perform what the! ha"e pu$l#shed) start to not#ce how do#n& so would onl! ma'e !ou #nto an un#ma&#nat#"e cop!#st) an amal&am of d#fferent st!les and ar$#trar! tr#c's(
Co"e the effects that !ou perform) $ut ne"er m#sta'e them for the ma&#c( And real#se that to perform well) !ou must step out of the fratern#t! #nto !ourself) and see of what stuff !our dreams are made(
+ow o Be :ourself
Ma&#c Boo's that deal w#th the matter of presentat#on and performance character are full of the
ada&e) WBe !ourself(= It #s at once an #mmensel! eas! ar#d "er! f#ddl! th#n& to ach#e"e( It #s a pro$lem that #s appropr#ate for e"er! no"#ce ma&#c#an) and some ser#ous profess#onals( A ma&#c#an &ett#n& started &enerall! does so w#thout an awareness of h#s natural st!le) for #t #s someth#n& to $e learnt o"er t#me( 3-uall!) 9tc w#ll $e unaware of the #mportance of the #ssue at the same t#me that h#s fr#ends are aware that he $ecomes "er! unl#'e h#mself when he performs( Now a num$er of performers adopt such an e.a&&erated persona when perform#n& that #t may seem lud#crous to #ma&#ne that the! are ,$e#n& themsel"es( I trust that amar#A steps out of character when he remo"es the hat and &oes home( Otherw#se) he would $e an e.haust#n& man to 'now) w#th h#s constant offers to fr#ends and fam#l! al#'e to ,show them someth#n& ethpethia# Ius h!pnot#c rela.at#on tapes would $e a d#saster( :et the character that we are presented w#th #s clearl! a comforta$le offshoot and e.a&&erat#on of a part of h#s personal#t!) and he s#ts well w#th #t( 5e) #n turn) ma! $e so$$#n& #nto our trousers at the end of a two-hour lecture) $ut we feel drawn #n $! #t) not al#enated( +owe"er e.treme #t ma! $e) and howe"er d#fferent #t ma! $e from ones own cho#ces) #t #s a rounded and secure character that does not show an! sha$$#ness at the ed&es( A no"#ce ma&#c#an) on the other hand) attempt#n& to de"elop a ,wac'! character #s more l#'el! to $ase h#s character on $r#&ht soc's and a $ad trousersJ%ac'et com$#nat#on( 5h#le th#s wor's e.tremel! well for Un#"ers#t! professors and conductors) #t #s a $ad place to start for the performer( amar#As character starts #ns#de( It has noth#n& to do w#th amus#n& cloth#n&( An!th#n& that does start w#th the outer trapp#n&s w#ll smac' of ar$#trar! #ma&e cho#ces rather than the e.press#on of real character( ;emem$er the Stan#sla"s'# -uote* 6One should f#rst &rasp the soul of a part not #ts dress(= And the soul of the part #s our own( 9or our purposes) we are not #nterested here #n w#ldl! com#c characters( he rule of ,$e !ourself #s dou$l! #mportant when !ou w#sh to ma'e !our ma&#c plaus#$le) for !ou must ensure that !our character resonates a $el#ef that if is you! If !ou are cop!#n& other art#sts to f#nd a character) !ou w#ll s#mpl! not transm#t that $el#ef( 9ou are not being con incing! :ou w#ll pro$a$l! th#n' !ou are) $ut #t wont $e -u#te r#&ht( he process re-u#red #s three-fold* f#rstl!) to &a#n an awareness of !our personal#t!> secondl!) to f#nd out wh#ch aspects of #t are appropr#ate to concentrate on for the purposes of performance> and th#rdl!) to twea' those parts l#'e a drama-n#pple to ma'e them theatr#call! reward#n&( ;es#st at an! po#nt the temptat#on to de"elop character#st#cs or manner#sms( :our a#m #s to rela. #nto the part and allow such outward trapp#n&s to form unconsc#ousl!( M! own performance character #s $orne from the wa! I l#"e( I spend m! da!s #n a B#ctor#an flat full of r#eo-&oth#c tr#mm#n&s and a sprawl#n& l#$rar!> I collect ta.#derm! 7onl! one person to m!
'nowled&e not#ced that m! cat) Spasm) p#ctured #ns#de the co"er of Pure 3ffect #s) #ndeed) a l#feless $a& of sawdust w#th a st#ff ta#l8) and ha"e a proper fa'e $oo'case that opens up #nto m! draw#n& room) I d#d not de"elop these to su#t m! proless#on* I &raduall! allowed m! ma&#c persona to fall #n l#ne w#th m! l#fest!le( 5hen I started) I felt I had to pro"#de m! aud#ences w#th the #ma&e of a ma&#c#an that the! would e.pect( I donned a $#& $lous! sh#rt) leather wa#stcoat and $oots) and thou&ht I loo'ed rather ca"al#er#sh and street-ma&#c'!( Of course) I actuall! loo'ed l#'e he Ga! G#ps! Poet Of he 5#ld) 5#ld 5est( Slowl! I saw that the ma&#c could reflect me ar#d allow me to e.press someth#n& of how I saw the world( One wonderful result of th#s #s that I almost #n"ar#a$l! loo' forward to perform#n& now) for I no lon&er ha"e to sl#p #nto an up-$eat character that #s not m! own( One #ssue here #s that I choose mater#al that su#ts m! character( A "er! common m#sta'e made $! ma&#c#ans #s to de"elop a character that suits the magic they are already performing! h#s has to $e the wron& wa! around( If !ou en%o! mental#sm) #t does not mean that !ou must &row a &oatee to stro'e and wear $lac' sh#rts( Nor does #t mean !ou should adopt the manner#sms and performance st!le that !ou th#n' su#ts mental#sm( :ou must start $! e.am#n#n& !ourself and &a#n#n& 'nowled&e of !our own character) and then shap#n& the mater#al and how !ou present #t to f#t !ou) so that there #s no trace of art#f#ce( 9low do !ou &a#n th#s understand#n& of !ourself@ If !ou are not espec#all! self-aware) or e"en) perhaps) #f !ou are) !ou should s#mpl! s#t down w#th someone who 'nows !ou well) and who #s sens#t#"e and art#culate enou&h to $e of use) and as' her to slowl! descr#$e !our soc#al character as fa#rl! as she can( :ou l#sten) and tr! not to cr!) and $e&#n to form a p#cture #n !our m#nd of !ourself( See h#m w#th those character#st#cs* #ma&#ne and understand h#m from the "#ewpo#nt of the person who #s descr#$#n& !ou( Start to see !ourself from the outs#de loo'#n& #n( If she can onl! descr#$e a ner"ous or #nsecure personal#t!) !ou w#ll need to start $! #dent#f!#n& an area of l#fe where !ou do feel secure and a$le) and ha"e someone descr#$e !ou who 'nows !ou #n that conte.t( Now) personal#t! #s an odd th#n&) and chan&es accord#n& to c#rcumstance) 5here there are "er! d#fferent s#des ol !ou* perhaps a &entleness "ersus an a&&ress#"eness) or a ser#ousness measured a&a#nst an #nfant#le sense of humour) one w#ll $e the more common tra#t( Allow th#s one to $e the aspect #ncluded #n the #ma&e) and #t !ou feel that the oppos#n& tra#t can enhance #t) allow #t to perhaps sh#mmer under the surface) perhaps as a tw#n'le #n the e!e to su&&est thDDt sense of urn) or an underl!#n& note of dr! sarcasm $eneath a charm#n& "eneer( Allow th#s p#cture to $u#ld) and allow #t to feel comforta$le( If !ou are told that such th#n&s as meanness or susp#c#ousness are tra#ts that !ou ha"e) #nclude them #n the same wa! and dont &et defens#"e( 5hen !ou can see #t clearl!) !ou can $e&#n to ref#ne #t( In !our #ma&#nat#on) watch the character that !ou ha"e created perform) and see #f !ou l#'e what !ou see( As he does so) e.a&&erate aspects of h#m that are most conduc#"e to performance( 9or e.ample) #f formal#t! and detachment ha"e $een named as tra#ts) allow them to $ecome hallmar's of th#s character) and l#sten to the "oca$ular! he uses and the means he emplo!s to commun#cate h#s effects( 5atch the st!l#shness de"elop) and en%o! th#s sua"e character #n !our m#nd( 5here there m#&ht $e a dar'er note) allow th#s to permeate throu&h the character) &#"#n& an unner"#n& ed&e to the charm or humour( In th#s wa!) wor' !our wa! throu&h the ma#n character#st#cs and $u#ld th#s personal#t! #n !our mInd( 5hen th#s part feels sat#sf!#n& and complete) ma'e #t three- d#mens#onal( C#terall! mo"e !ou ro"#n& $ra#n-cam around h#nt not#n& h#s dress and appearance from all s#des( See how he would loo' from someone sat $eh#nd( Ma'e the #ma&e $r#&ht and "#"#d) colourful and panoram#c( 9la! an #ma&#nar!) appropr#atel! e"ocat#"e p#ece of mus#c that !ou 'now as a soundtrac' to accompan! the performance and allow #t to flesh out e"en further(
Ne.t) #ma&#ne !ourself s#tt#n& or stand#n& #n the sort of place where !ou do ma&#c the most) and #ma&#ne th#s character com#n& up to !ou to perform( Not#ce how he approaches) how e"en h#s open#n& words deftl! commun#cate much of h#s character and ma'e !ou really want to see his magic! 5hen he $e&#ns) not#ce how he handles h#s props) how he #nteracts w#th !ou and the other spectators) and how #ntr#&u#n& a character he #s( See also that there #s no r#&#d#t! to th#s character* that he would adapt #n %ust the r#&ht wa! to a d#fferent t!pe of aud#ence to &a#n the#r respect $ut w#thout comprom#s#n& h#s wa! of do#n& ma&#c( a'e an enormous #nterest #n th#s personal#t! and how #t #s commun#cated #n such a &enu#ne wa!( Not#ce that there #s a -ual#t! to the performance that ma'es !ou feel comforta$le #n the hands of a profess#onal( hen step #ns#de the character( C#terall! mer&e w#th h#m and see the world from h#s e!es out( ;#m throu&h that performance a&a#n and feel #t( Not#ce how #t feels d#fferent from whate"er !ou were do#n& $efore( Memor#se that feel#n&) and pla! that soundtrac' a&a#n #f #t helps( ;un #t throu&h se"eral t#mes( Chec' that #t feels comforta$le and natural* #f someth#n& #s not r#&ht) ma'e an! chan&es( Sta! rela.ed as !ou do th#s) unless the character #s "er! h!peract#"e( 9#nall!) #ma&#ne !ourself da!s and wee's #nto the future $ecom#n& more and more fam#l#ar w#th th#s wa! of perform#n&( See !ourself ta'#n& a few moments $efore each performance to $e&#n the soundtrac' In !our m#nd and rela. #nto !our character( 9eel #t l#'e s#n'#n& #nto a $ath that #s %ust the r#&ht temperature( hen see !ourself &o#n& out and perform#n& $r#ll#antl!( Allow !ourself to &et #t wron& occas#onall! at the start* to relapse #nto old ha$#ts $! m#sta'e( And as !ou $ecome more and more fam#l#ar w#th the new wa! of perform#n&) #t starts) of course) to $ecome second nature( he f#nal sta&e) once !ou are ent#rel! comforta$le w#th #t) #s to $e "er! respons#"e to feed$ac'( It #s eas! to m#s%ud&e and st#c' too r#&#dl! to an #dea) los#n& the stren&th of fle.#$#l#t!( M! character) for e.ample) has a stron& note of ser#ousness) $ut th#s must $e coupled w#th a &ood-natured humour) otherw#se #t would too eas#l! $ecome #nappropr#ate for most "enues( I can allow m!self to mo"e $etween those tra#ts to pro"#de te.ture and a controlled mood) as well as ma#nta#n#n& rapport w#th the en"#ronment( 5hen I watch the hcst ma&#cal performers and then meet them soc#all!) I am struc' $! the cont#nu#t! that e.#sts $etween the#r e"er!da! personal#t#es and the#r performance characters( It #s as #f the! e.a&&erate themsel"es a l#ttle) and are prepared to ha"e fun w#th that #n a ton&ue-#nchee' wa!( 5hen we watch them perform) we sense the r#chness of the#r personal#t#es and %o#n #n w#th the character %o'es( 5hen +oll#n&worth apolo&#ses for the fact that the last effect ma! ha"e appeared ,r#fe w#th %#&&er!-po'er!) the e.press#on ma'es us lau&h $ecause we see a clear demonstrat#on of an e.a&&erated character( h#s #s the stuff of r#ch s#tuat#onal comed!* humour that does not #nterfere w#th the ma&#c $ut enhances the character( Its success #s a s#&nal that the aud#ence has $een completel! a$sor$ed #n a plaus#$le personal#t!( 9our personal#t!) deftl! #llum#nated and $rou&ht to the forefront of !our performance(
It &oes someth#n& l#'e th#s( 5e) as ma&#c#ans) are aware of the hu&e #ndustr! that caters to us( Because of the enorm#t! of the ma&#c scene) #t has &#"en r#se to mass#"e #n-house pol#t#cs and eth#cal #ssues wh#ch often affect our performances) #f we are consc#ent#ous profess#onals( 5e perform such-and-such a tr#c') for e.ample) $ut not w#th such-and-such a presentat#on) for that $elon&s to so-and-so) and we chan&e th#s part) wh#ch #s ours) and add th#s $#t here) and feel eth#call! rela.ed #n show#n& #t( Or we perform an effect a couple of t#mes $ecause the perfect moment ar#ses and feel &u#lt! $ecause 'now that we shouldnt) for #t #s the s#&nature p#ece of another performer and we ha"e no r#&ht to do #t( S#m#larl!) there can e.#st an enormous we#&ht $eh#nd the effect( 9or e.ample) I ha"e on a num$er of occas#ons performed the Chan Canasta Boo' est( hose who follow m! op#n#ons w#ll 'now that I am not a fan of $oo' tests) $ut an! road up) I occas#onall! perform the test) and #t #s for me $! lar the most ele&ant effect #n #ts class( It #s a sheer del#&ht to perform) and I ha"e the &low of 'nowled&e that I am perform#n& a super#or p#ece) created $! a master) and wh#ch rel#es so much on sheer personal#t! and $raAenness( All of these #n"ol"ed #ssues ma! $e #n our m#nds as we perform for a &roup at whate"er unpleasant e"ent at wh#ch we f#nd oursel"es( But I as' these ma&#c#ans the same -uest#on* doesnt #t all seem ludicrous, when !ou we#&h all that a&a#nst the fact that most of the t#me to our aud#ences) we are %ust pro"#d#n& the tr#"#al del#&ht of a pass#n& h#red enterta#ner@ If we are us#n& techn#-ues deemed super#or $! the co&noscent# $ut wh#ch mean noth#n& to the un#n#t#ated) #snt there a note of s#ll#ness to #t all@ O"er recent !ears I ha"e seen a couple of effects shown to me $! other performers) wh#ch I would lo e to perform( But #t would $e wron& to do so) and moreo"er I ha"e no w#sh to perform other peoples mater#al( So I dont) $ut when I loo' at m! wor' from the po#nt of "#ew of ord#nar!) non-ma&#cal spectators) the #ssue of #ntellectual propert! %ust seems so lau&ha$le( A case #n po#nt* 9r#ends of m#ne attended a funct#on w#th me) where one of the a$solute &reats of ma&#c was perform#n& close-up( h#s was a name 'nown to us all) $ut not at the t#me 'nown to the &eneral pu$l#c( +e was us#n& a lot of h#s hallmar' ps!cholo&#cal techn#-ues) $ut 'ept missing w#th them( +#s use of these s'#lls was a wonder to watch) and h#s handl#n& super$) $ut as one would e.pect w#th such techn#-ues) $ad n#&hts must occas#onall! occur) and th#s seemed to $e one of them( After ha"#n& seen th#s modern 9ather of ma&#c perform h#s $eaut#ful art for them) the#r react#on was 6God) that ma&#c#an was crap( Not l#'e that &u! #n the pu$ he was &reat(= he &u! #n the pu$ had $een a local enthus#ast perform#n& a few rout#nes w#th a porno&raph#c dec' of S"en&al# cards( I) who had %ust mar"elled at th#s &reat man and cr#n&ed at the d#rt! man #n the pu$) d#d not 'now what to sa!( 5ere the! wron&@ No( 5ere the! r#&ht@ 5ell) no( One was an art#st) the other was not a part#cularl! &ood ma&#c#an( Not $ecause one was onl! us#n& a S"en&al# dec') $ut $ecause one approached h#s profess#on w#th the m#nd of an art#st) and one d#dnt( But at the same t#me) the #nc#dent showed me so clearl! how l#ttle prest#&e or e.pert apprec#at#on means #n the real world( It #s an odd s#tuat#on w#th ma&#c) -u#te pecul#ar In the world of the f#ne arts) #t #s onl! the apprec#at#on of other art#sts that matters( he pu$l#c are pol#tel! held to $e #&norant( A pa#nter or sculptor has far more #nterest #n how h#s or her wor' #s seen $! her peers) than what the la! pu$l#c ma'e of #t( :et #n ma&#c) -u#te the oppos#te #s hue( 5h#le man! ma&#c#ans do see' the respect of other ma&#c#ans) wh#ch #s a $lameless act#"#t!) #t #s clearl! the case that the#r appro"al means noth#n& compared to the "#ews of the ord#nar! spectators who see them wor' on a da#l! $as#s) here are plent! of co#n- and card- wor'ers whom we del#&ht #n watch#n& at con"ent#ons) $ut who would -u#te poss#$l! $ore an ord#nar! spectator fa#rl! -u#c'l!( Indeed) profess#onals w#th a true apprec#at#on for the#r art 'now that the respect of the fratern#t! #s a hollow "#ctor!) and means "er! l#ttle #ndeed( h#s #s an odd c!n#c#sm) !et we would $e "er! susp#c#ous of a ma&#c#an who spo'e of h#s !earn#n&s to $e respected pr#mar#l! $! the commun#t!(
I was struc' $! the pecul#ar#t! of the sftuat#on when I spo'e to a fr#end w#th no part#cular #nterest #n ma&#c a$out lectur#n& for ma&#c#ans( I had $een as'ed to spea' at a few clu$s $ut was not ea&er to do so( I tr#ed to e.pla#n that one had to $e careful a$out court#n& the adm#rat#on of the fratern#t!) as #t was d#stract#n& and #rrele"ant compared to follow#n& ones career and "#s#on as a performer( +er react#on was complete surpr#se* #t struc' her that to $e respected $! other ma&#c#ans would surel! $e a s#&n of trul! remar'a$le a$#l#t! as a performer( It seemed to her to $e the p#nnacle of success(
A cur#ous conundrumE In an! other f#eld( I #ma&#ne that would $e the case( Perhaps the d#fference #s that #n ma&#c) the people who ma'e up that fratern#t! are pr#mar#l! ho$$!#sts whereas #n f#ne art) the art#st#c commun#t! #s one of) well) art#sts( On a recent e.curs#on #nto the se.!) thrust#n& world of tele"#s#on-watch#n&) I cau&ht an ep#sode of !our popular ,P-9#les) one that dealt w#th the e.plo#ts of two apparentl! feud#n& ma&#c#ans( +ere) the wor' of the !oun& e.pert was compared to the rather dated and merel! ade-uate performance of the older) %aded ma&#c#an( One of the two 9BI persons) and I for&et the#r names $ut remem$er that the! sounded rather contr#"ed and s#ll!) commented that the two performances seemed essent#all! rather s#m#lar( 6Ah)= repl#ed our !oun& &en#us) 6$ut MoAart and Sal#er# sound the same to the la!man(=
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h#s reall! stuc' #n m! m#nd( Is there truth #n th#s@ Are there o$%ect#"e standards) wh#ch can $e allocated to ma&#c #n th#s wa!@ Is the la! aud#ence reall! the %ud&e and %ur! when #t comes to sort#n& the wheat from the chaff) or are the! %ust that la!men who) #n the#r essent#al #&norance) do not ha"e the a$#l#t! to dec#de@ Should we %ud&e a ma&#c#ans standard $! h#s popular#t! amon&st h#s peers) or h#s commerc#al success@
4
Cuc'#<!) we do not need to f#nd an answer to th#s -uest#on( here are d#fferent wa!s of measur#n& ma&#c#ans) and the $est w#ll alwa!s ha"e the#r e!e on the wa! that the pu$l#c respond to them( he genuinely infi'rrned, profess#onal element of the fratern#t! should see the#r mem$ers from the "#ewpo#nt of a la!-aud#ence and %ud&e #n a welt-rounded wa!( But an #nterest#n& #ssue #s ra#sed( Namel!) that unless we ha"e had the &ood fortune of our own tele"#s#on shows and are 'nown alread! to our aud#ences) an! prest#&e that we ha"e amon&st our peers means a$solutel! noth#n& unless we can commun#cate that to each aud#ence that we s#t down w#th( 3ach t#me that we $e&#n perform#n& for our aud#ence) we ha"e to commun#cate those aspects of us that ma'e us &ood at what we do) and &#"e us author#t! w#th#n the &roup( h#s w#ll &rant us our prest#&e( Because) to p#c' up on an earl#er po#nt) #f we dont conm#tm#cate #t as such) #t ceases to e.#st( +owe"er &ood we feel we are) and howe"er much e.cellent feed$ac' we ha"e rece#"ed) we cannot rest upon that and lose s#&ht of the fact that #f an aud#ence do not 'now our wor') then the! dont care a f#& for our est#mat#ons of our talents( In close-up wor') th#s #s espec#al#! #mportant( I ha"e cau&ht m!self on occas#on) after an e"en#n& of e.cellent wor') wh#ch carr#ed me on a wa"e of sat#sfact#on and del#&ht) approach#n& a f#nal &roup as an after-thou&ht $efore lea"#n&( St#ll #n a world of m! own sell- sat#sfact#on) I would for&et the prel#m#nar#es and mo"e stra#&ht #nto more ma&#c) wh#ch was all flow#n& so well( Afterwards) I would real#se that that f#nal &roup) desp#te m! own flor#d est#mat#ons of m! art at that t#me) had %ust seen a couple of tr#c's( 5h#lst I was #ma&#n#n& m!self and m! ma&#c as #mposs#$l! spec#al) I had for&otten to commun#cate that to them( Prest#&e) real or #ma&#ned) #s a fallac! #n an! ma&#c performance where the aud#ence are unaware of #t( 5hen th#s Great Ma&#c#an performed h#s effects and m#ssed w#th h#s ps!cholo&#cal plo!s) he was seen as clearl! ru$$#sh( 5hen the effects d#d wor') the! were rece#"ed onl! w#th an a#r of detached amusement( for h#s prest#&e had fa#led from the start( I) who was $ath#n& #n h#s prest#&e) thou&ht #t all to $e wonderful(
Prest#&e #s %ust su&&est#on( It #s commun#cat#n& a perce#"ed sense of author#t!) wh#ch renders the person w#th the #nfer#or staths a far more su&&est#$le( But #f #t does not e.#st #n that cloud of 'nowled&e and awareness that precedes us) then we must create #t throu&h deft scr#pt#n& at the start of our performance( 3"er! s#n&le t#me( Now) th#s $r#n&s us $ac' to that or#&#nal -uest#on( +ere we are) essent#all! amusements #n the e!es of our aud#ences) &ett#n& all wor'ed up o"er someth#n& that #s( $! nature of that fact) essent#all! tr#"#al( /oesnt #t all seem daft@ Ar#d when I used to as' that -uest#on) m! personal answer was #n"ar#a$l! #n the afftrmat#"e( I st#ll feel that there #s something of "alue #n see#n& the tr#"#al s#de of what we do) $ut I ha"e also come to see another aspect to #t) wh#ch wh#le #t ma! not $e e.actl! important, can $e certa#nl! wonderful( :et when 2 as'ed #t of the wor'#n& ma&#c#ans whom I encountered) I often rece#"ed essent#all! the same answer( 9es, % am increasingly aware of how tri ial it #s) and % hate doing this run*of*the*mill stuff' which you cant really e7pect anyone to take seriously! % urn bored of doing the same tricks, and e en if % start doing a new one % get bored of that too, and ( know it all seems so pointless and % hate the fact tim& they find it pretty pointless too! % do the same tired tricks, and because ( know theyre tri ial, ( sort of make frn of them too, because they seem stupid to me now too! % want to do something else w#th my magic, to ha e people take it and me seriously, but % dont know what! l#t #s the d#s#llus#onment of the wor'#n& close-up ma&#c#an( +opefull! #t means that one more ma&#c#an #s a$out to chan&e for the $etter and ne"er loo' $ac'( 5hen we reach that po#nt) when our performance and att#tude $ecome %aded and wear!) self-effac#n& and apolo&et#c) there are two opt#ons( One #s e"entuall! to stop perform#n&) $ored w#th the whole th#n&( 5h#ch means one less %aded ma&#c#an #n the world) wh#ch #s a &ood th#n& for the rest of human#t!( But the other opt#on #s to re-d#sco"er the art completel!) and chan&e ones #dea of what ma&#c #s) and what ones role as a ma&#c#an m#&ht $e( h#s wa!) we &et to e.per#ence wh! $e#n& a ma&#c#an #s the $est lo$ #n the world( 5e can &o out to perform) cur#ous as to what the e"en#n& m#&ht $r#n&) and what we m#&ht learn for oursel"es( I re#terate to !ou) /ear ;eader) that !ou should not th#n' of !ourself as a mere h#red enterta#ner e"en when !ou are( :ou must pla! that part to the $oo'er) and f#t #n appropr#atel! w#th the "enue) $ut !ou are actuall! there to &#"e a fresh $unch of people an unfor&etta$le t#me( :ou are &o#n& to create a corner of the part! where &uests w#fl $e l#fted out of themsel"es for a wh##e( :ou are &o#n& to pro"#de moments of wonder that w#ll $e the anecdotes told across d#nner- ta$les or to other ma&#c#ans at other funct#ons twent! !ears #n the future( :ou are to mo"e $etween the &uests w#th the -u#et and sl! a&enda of !our own unner"#n& potent#al( :ou are the ma&#c#an) !ou control the ma&#c( /ont do the t#red rout#nes) $orne from an ar$#trar! ser#es of cho#ces !ou made ten !ears a&o a$out what to perform( Cose the spon&e $alls and an!th#n& that !ou feel that !ou couldnt hold a rooms attent#on w#th) and start choos#n& mater#al that st#lts the #mpact that !ou would most l#'e to ma'e( +a"e the coura&e to th#n' from th#s start#n&-po#nt) and to lea"e n#net!percent of !our reperto#re $eh#nd !ou( hen &o out to perform fresh and ea&er to #mpro"e e"en more) and from the moment !ou arr#"e) in ent and walk your own prestige! Carr! #t around w#th !ou w#th the -u#et nature of the man conf#dent #n h#s author#t!( Commun#cate #t thorou&hl! and su$tl! $efore an! ma&#c $e&#ns( Start w#th the presumpt#on that perform#n& ma&#c should $e the most en%o!a$le and $eaut#ful th#n& #ma&#na$le) and let !our #ma&#nat#on ta'e !ou alon& the path of d#sco"er!( 5hat !ou learn #s !our r#&ht as a performer to em$od!* you are the ma&#c#an) you perform ma&#c #n the wa! you feel #t should $e) you control the
ma&#c) #t doesnt 7throu&h d#ctat#n& what #s ,tr#ed and tested or a ,sure-f#re commerc#al w#nner8 control !ou( Its a whole new %o$( 01X
respect for the fact that we ha"e #n"#ted oursel"es o"er( o hurl the same sorts of #nsults across the restaurant ta$le that a sta&e performer m#&ht &et awa! w#th when deal#n& w#th a hec'ler would $e d#sastrous( S#m#larl!) when we #n"#te w# aud#ence mem$er #nto our space on sta&e) or at our own closeup ta$le) he or she #s our &uest) and should $e handled #n an appropr#atel! respectful way!
:et close-up ma&#c#ans cont#nue to $e rude( 6Ma'e !our m#nd a $lan'( Oh) that was -u#c'E= 5orse) these dull comments tend to $e made $! the most charm#ess) #neffectual performers who couldnt e"en carr! a &ood %o'e #f #t was -u#te l#&ht and came w#th $#& handles( Ma&#c #s a$out a ps!cholo&#cal %ourne!) and #t #s the tas' of the ma&#c#an to deftl! man#pulate and &u#de the emot#onal states of h#s spectators to reach that ma&#cal po#nt( 5hen th#s #s done) ma&#c #s ele"ated from the mere presentat#on of tr#c's( I hope th#s #s an une-u#"ocal statement( G#"en that fact) we would need a "er! &ood reason to em$arrass or hum#l#ate our "olunteers( It ma! $e the stuff of comed!) $ut #t #s not the stuff of ma&#c( On occas#ons) and #n lar&e enou&h &roups) a l#'ea$le ma&#c#an can pro$a$l! &et awa! w#th #t) #f he #s e-u#pped w#th a profess#onal att#tude towards the use of such comments( In a close-up s#tuat#on espec#all!) the performer must ha"e a "er! clear apprec#at#on of h#s character to see whether or not he should ma'e a humorousl! #nsult#n& comment when a perfect s#tuat#on ar#ses( 3-uall! he should ha"e an apprec#at#on for the t#m#n& and del#"er! of the l#ne( hen the use of such an occas#onal comment $ecomes a performance cho#ce) not %ust a t#red use of #nappropr#ate cl#chO( oo often) the ma&#c#ans who ma'e these #nsult#n& comments) and ma'e them $adl!) are "ot#n& and #ne.per#enced) st#ll trott#n& out l#nes rather than #mpart#n& the e.per#ence of ma&#c( And $e#n& ,com#call! #nsulted $! a teena&er who wears a pol!ester $ow-t#e and h#s school-sh#rt to enterta#n !ou #s fantast#call! unpleasant( 5lwn #s the po#nt of us#n& these l#nes@ If the! are there to &et a lau&h) surel! #t would $e $etter to d#rect them at oneself( In do#n& so) one d#ffuses ones status for a moment and the aud#ence apprec#ate #t( In
01U
a card rout#ne I perform) a po#nt was alwa!s reached where I spread out the three chosen cards for a round of 9#nd he Cad!( 6Normall! pla!ed w#th a Nueen and Iwo other cards( Now) we dont ha"e a Nueen here I would sa!) then pause and loo' at a male spectator near me for a moment) no we dontso well use these three(= he pause was well-t#med and #t ,&ot a lau&h( I cont#nued us#n& th#s l#ne for a lon& t#me) unt#l one n#&ht() when I came to as' a -uest#on of the same spectator a l#ttle later #n the rout#ne( +e shru&&ed and sa#d that he d#dnt care) add#n& that I had ,called h#m a -ueen earl#er on(
/1 4
It was a moment s#m#lar to real#s#n& that puff#n& m! foot on the ta$le was an appall#n& p#ece of $eha"#our( I would ha"e no w#sh to ma'e a se.uall! d#spara&#n& comment to m! "olunteer) and had not #ma&#ned #t to $e #nsult#n&( But of course the spectator doesnt real#se that I use that as a stoc' l#ne e"er! t#me I come to that po#nt #n the rout#ne* he sees #t as a personal comment and ma! #ndeed ta'e offence ## he #s so #ncl#ned( he l#ne I now use #s) 6Now we dont ha"e a Nueen here then I pause #n the same wa! and loo' down at myself and add) 6em) desp#te the fo$-watch and wa#stcoat and carr! on( I am aware of how e.cruc#at#n&l! unfunn! these th#n&s sound when anal!sed #n pr#nt) and #t #s $! no means a &reat %o'e) or e"en a part#cularl! &ood one( I ment#on #t onl! to show the d#fference $etween how the reference was d#rected( In the second "ers#on) #t #s st#ll a &oodhumoured %ostle) $ut th#s t#me at
/-1
m!self( No$od! ta'es offence) and onl! tw#ce #n four !ears ha"e I ta'en m!self outs#de and $eaten me up( Shorts#&hted arro&ance can $e a ma%or pro$lem for close-up ma&#c#ans) and red#rect#n& these comments at oneself can &o a lon& wa! to d#ffus#n& that unpleasant strea'( It #s $orn) of course) out of #nsecur#t!) as I ha"e ment#oned $efore( /eal#n& w#th th#s #nsecur#t! #s a ma%or step to #mpro"#n& ones performance) and sh#ft#n& from the role of the &ener#c h#red-ma&#c#an or &ee' to the #mparter of wonder( 5hen the performer wor's from a $ase-po#nt of em$arrassment at h#s own mater#al or presence) the performance $ecomes #nherentl! em$arrass#n&( he performer ma! ha"e $ecome so used to h#s mater#al that he feels conf#dent #n approach#n& &uests) $ut he ma! st#ll $e perform#n& from a presupposed sense of em$arrassment and aw'wardness( he follow#n& str#'e me as man#festat#ons of th#s somet#mes ent#rel! unconsc#ous process* S
Y
he ma&#c#an stalls as lon& as poss#$le $efore approach#n& a &roup( +e has to dr#n' $efore perform#n&( +e $e&#ns the set w#th a tr#c' to &et the#r attent#on rather than w#th an #ntroduct#on( +e hurr#es from one tr#c' to the ne.t( I-Ic feels that #t #s #mposs#$le to &et people to ta'e h#s closeup ma&#c reall! ser#ousl!( +e apolo&#ses for $e#n& the ma&#c#an) aware that #t must seem tac'!( +e apolo&#ses $efore start#n& a card-tr#c') aware that card- tr#c's are supposed to $e $or#n&( +e "#ews each &roup as a challen&e( +e #s happ! to e.pose a method or two #f #t &ets a lau&h( +e #s more #nterested #n &ett#n& a lau&h than perform#n& stron& ma&#c 7,Ser#ous comed!ma&#c#ans e.cepted8) +e #s o"er-stuffed w#th effects that he doesnt perform( +e tal's too -u#c'l! or too -u#etl!( +e &ets an&r! or upset when a spectator treats h#m w#th d#srespect( +e #nsults spectators( +e #s #mpat#ent w#th spectators( +e does not part#cularl! en%o! perform#n& h#s ma&#c( It #s a %o$ l#'e an! other( +#s aud#ences dont seem as respons#"e as he would l#'e) e"en thou&h the tr#c's are 'nown to $e &ood ones(
S S S S S S S S S S S S S
Y
Now) e"en the most secure performer w#ll feel one or two of these from t#me to t#me) $ecause we are all human and somet#mes ha"e no des#re to perform( But these are our off-da!s) and #f we st#ll
&#"e a &ood performance when we are oursel"es less than happ! w#th #t) then we must &#"e oursel"es the $enef#t of the dou$t and cou#lt oursel"es as decent performers( But much of th#s $oo' deals w#th the necessar! att#tude that a &ood ma&#c#an must ha"e when approach#n& performance) and there #s no room there for em$arrassment( I used to e.per#ence all the a$o"e #n one wa! or another) at one t#me or another( After red#sco"er#n& ma&#c for m!self) I can no more feel em$arrassed a$out perform#n& #t than 2 could feel em$arrassed a$out #n"#t#n& &uests #nto a home of wh#ch I felt proud( I w#sh upon e"er! ma&#c#an that process of red#sco"er!( I w#sh that he would feel onl! del#&ht #n approach#n& a &roup of spectators) onl! pr#de #n h#s mater#al) and that those who rece#"e h#s ma&#c would feel respected and flattered that the! ha"e $een a part of #t(
han' !ou 9or :our #me( %f there #s an!th#n& I ha"e to sa! #n summar!) #t #s th#s* ha"e an aesthet#c "#s#on for !our ma&#c) and
let the real#sat#on of that "#s#on $e the reason for perform#n&( Be clear #n !our m#nd what !our ma&#c loo's and feels l#'e* what the e.per#ence of !our ma&#c #s to !our aud#ence( Cet that clar#t! dr#"e the creat#on of !our "er$al and nonD"er$aI commun#cat#on as !ou perform) and d#ctate the mater#al !ou choose( And wor' to transmit !our mater#al) not %ust present #t( I ha"e wr#tten th#s $oo' w#th a conf#dence #n m! own $el#efs) $ut as I sa#d at the start I must r#s' sound#n& arro&ant #n order to commun#cate full! the model I ha"e #n m#nd for ma&#c( It is, % repeat, only my model, and by no means the correct or'e! here #s no ,correct one( I hope that !ou ha"e seen me throu&h that model* understood #ts a#ms) cons#dered the confl#cts and pro$lems that would $eset #t) and found some worth #n see#n& the model throu&h( I ha"e r#s'ed $ecom#n& enamot#red w#th that model m!self $ut to re#terate) theor! must follow pract#ce) and few areas must rema#n as fer"entl! pra&mat#c as con%ur#n&( So #f these cons#derat#ons ha"e $een new to !ou) &et out and appl! what !ou can as $est !ou can) $ut 'eep !our e!es and ears open for the feed$ac' that w#ll let !ou 'now whether !ou are reach#n& !our &oats( If !ou ta'e to m! #deas) then a$sor$ what I ha"e wr#tten as an att#tude) rather than a set of techn#-ues) and from that att#tude de"elop !our oAun techn#-ues) and form !our awn model that ma'es m#ne seem #ncomplete and naZ"e(
-,
hats all I ha"e to sa!* other than to than' !ou for $e#n& one more decent and consc#ent#ous ma&#c#an out there who) amon&st all that dreadful) mean#n&less) patron#s#n& ma&#c presented throu&hout the world) #s prepared to reall! &#"e h#s wor' some thou&ht( I hope that means one less $ored) %aded profess#onal) and would $e del#&hted to th#n' that the world has one more ma&#c#an who feels a real e.c#tement a$out h#s wor' and #s prepared to #n"est real effort and thou&ht #nto #t( One who ne"er loses s#&ht of the transport#n& potent#al of ma&#c to an #ntell#&ent) modern adult aud#ence(
("ilogue:
An (ssay
Aan :agic be )rt. New hou&hts One cannot loo' at a ma&#c-related Internet d#scuss#on e&roup not#ce-$oard we$-forum w#thout
see#n& the word ,art $and#ed up and down the electr#c super-motorwa! as #f art and ma&#c were two concepts une-u#"ocall! e-uated ar#d the most well-su#ted word-compan#ons that one could e"er hope to f#nd lum$l#n& w#th each other #n the coats-room at an #deas-part!( It seems that throu&h the l#terature of ma&#c#ans determ#ned to deem the#r own ma&#c #mportant and worthwh#le) a whole new &enerat#on of no"#ces has $een $orn wh#ch learns art#st#c pretens#ons $efore an #n-%o& o"erhand shuffle replacement( Indeed #t would seem to the casual surfer of these "#rtual fora that the art#st#c commun#t! had recentl! accepted ma&#c 7#n part#cular close-up ma&#c w#th lots of touch#n&8 as a 9#ne Art and ran's the Suc'er S#l's alon& w#th the opera 7and I use the word "er! cle"erl! to mean the plural of opus2 of Bach( Such #s one e.treme( On the other hand) so much as ment#on concepts of art to the a"era&e ,wor'#n& pro and he w#ll deem such d#scuss#on lud#crousl! pretent#ous> after all) ma&#c #s a$out whats commercial, whats loud enou&h to $e heard o"er no#se) what &ets the lau&hs( It #s a cralt) he w#ll sa!) and there #s no room for tal' of art( lIe w#ll %l#d&e h#s success $! the nm l$er of $oo'#n&s ta'en #n a !ear and l#ttle else #nterests h#m* he happ#l! performs e.clus#"el! the mater#al of other performers 7all fa#rl! pu$l#shed I am sure8 and spurns an! a$stract d#scuss#on of performance( Ma&#c#ans at $oth e.tremes seem to m#ss someth#n&) and $oth &roups are potent#all! %ust as patron#s#n& and r#s#$le as each other(
One meets plent! of the latter t!pe) $ut I wonder how much the! &enu#nel! en1oy the#r wor'( Presuma$l! the! e7press l#ttle w#th #t) and #f the! do not see' to do so) I #ma&#ne that 7he! are happ! %ust &o#n& out and perform#n& the same rout#nes n#&ht after n#&ht and count#n& the#r cash at the end of the !ear( Presuma$l! the! m#&ht as well $e do#n& an! '#nd of freelance wor'* the ma&#c #s an #nc#dental cho#ce of craft( Now I 'now the #mportance of $us#ness acumen and f#rml! $el#e"e that we should all spend our profess#onal l#"es ma'#n& plent! of mone! from what we en%o!) so I ha"e no -uarrel w#th the cann! mar'et#n& a$#l#t! of some of these ma&#c#ans( But when these people w#th the#r sharp su#ts and unpleasant odour tal' of the#r e.tens#"e trade-show wor' as #f #t were the p#nnacle of performance success) I tr! to create a d#stract#on and lea"e( 76Coo'E 3u&enes $eards on f#re(= or 6Coo' outE Ma. has &ot a &un(=8 It #s a shame that more ma&#c#ans do not li e the#r ma&#c) 7althou&h that does not mean patholo&#call! pluc'#n& co#ns from a shop-cler's ears each t#me !ou pa! for someth#n&((( there is a fine line between wishing to produce child*like astonishment and treating people like infants2 and a p#t! that more do not f#nd a certa#n romance and del#&htful w#c'edness #n #t) or that %o! of ta'#n& people to the ed&e of the#r models of the world and show#n& them the chasm $e!ond( I can onl! en%o! what ma&#c &#"es me) and rema#n utterl! del#&hted that I ha"e noth#n& $etter to do w#th m! t#me than wal' around f#&ur#n& out #mposs#$#l#t#es or awa'en#n& to f#nd a del#"er! or two of
e.pens#"e &ad&etr! wa#t#n& for me on m! doorstep( I suppose we cannot approach ma&#c art#st#call! #f we do not possess such a sens#$#l#t!( o treat #t as art #n a wa! that was onl! fool#n& oursel"es could $e #mmensel! od#ous and r#fe w#th pretens#on( If the art#st#c world-"#ew #s al#en to a part#cular ma&#c#an) I #ma&#ne #t a fut#le endea"our to attempt to con"#nce h#m that the elus#"e $eaut! of art ma! res#de #n areas close to h#s craft( If he rema#ns happ! draw#n& l#ttle creat#"e sat#sfact#on from h#s profess#on) and #f he ne"er e.per#ences the feel#n& of ele ating h#s performances $e!ond tr#c'er! $ut 'nows no d#fferent) then so $e #t( If #t %ust rema#ns a %o$) or a ho$$!) and ne"er reall! means an!th#n& to h#m) then all &ood luc' to h#m w#th h#s endea"our( 5e must part compan! am#ca$l!( But for those of us who do approach our ma&#c as ha"#n& the potent#al of $e#n& art) or at least &enu#nel! art#st#c) wc ha"e open to us a new aspect of oursel"es that constantl! &rows and challen&es us) one wh#ch del#&hts and #nstructs) and one #n wh#ch we m#&ht f#nd a means of #mpart#n& our pecul#ar slant on the world( +owe"er) the $enef#ts der#"ed from th#s approach do not automat#call! render the pract#ce art( /o those of us who deem ma&#c art merel! see' a sooth#n& ton#c lot that &u#lt! feel#n& of fraudulence) wh#ch $esets an! consc#ent#ous performer@ /oes #t stem from the desperate cr#es of a&e#n& ma&#c#ans who) perhaps) approach the tw#l#&ht of the#r careers and worr! that the#r success #n the ma&#c world means "er! l#ttle@ Are we merel! frustrated performance art#sts trapped #n a pedestr#an &enre) desperatel! see'#n& some ###us#on of worth #n a tr#"#al past#me@ Is th#s chapter noth#n& more than the fr#&htened mouth-ru$$#sh of a &oateed -uac' who lears he ma! $e l#"#n& a terr#$le l#e@ +ow are we to dec#de@ It #s clearl! the case that ma&#c does not #mmed#atel! call out to $e reco&n#sed as art( 5e must $e&#n our search for answers $! turn#n& to the sem#nal Our :agic $! Mas'el!ne and /e"ant) h#s was the f#rst t#me that ma&#c theor! was set out for the fratern#t!) and rema#ns) #n m! op#n#on) st#ll the $est wor' of #ts t!pe( he sect#on of the $oo' of most #nterest to us at th#s %uncture #s the f#rst part) #n wh#ch Ne"#l Mas'el!ne carr#es out an e.tens#"e and -u#te wonderful stud! of , he Art #n Ma&#c) wh#ch) #n h#s words) 6#s a "er! d#fferent th#n& from 6 he Art of Ma&#c( he latter term ma! em$race an #mmense num$er of d#"erse cons#derat#ons( he former rStes to one s#de onl! of ma&#c> a s#de wh#ch has ne"er rece#"ed the attent#on #t deser"es( Our #mmed#ate a#m #s the eluc#dat#on of those fundamental pr#nc#ples wh#ch) $e#n& reduced to pract#ce) %ust#f! the cla#m of ma&#c to $e classed amon& the Arts not) of course) the mechan#cal arts) $ut amon& the 9#ne Arts the Arts w#th a cap#tal A(=
/ /
h#s statement conta#ns a fa#th #n the status of ma&#c that would nowada!s eas#l! str#'e us as m#s&u#ded( he dou$le-ed&ed prol#u#cac! of close-up ma&#c ar#d dealer $us#ness) wh#ch has $oth allowed our profess#on to flour#sh and $e tr#"#al#sed) has opened the flood&ates to enthus#asts who ha"e affected the popular concept#on of ma&#c for $etter and for worse( he term ,sle#&ht-ofhand art#st su&&ests l#ttle #n the wa! of creat#"#t! and less of &ra"#tas) and #ndeed the feel of modem close-up ma&#c would seem to $e a react#on a&a#nst an old school seen as pompous and out-of-date( he result #s a modem form of enterta#nment that happ#l! tr#"#al#ses #tself) and would $e em$arrassed to deat w#th the #ssue of art( 5hat a concept((( ma&#c placed amon&st the 9#ne Arts( +owe"er) the pr#de felt $! Mas'el!ne and the sweep#n& author#t! w#th wh#ch he ma'es comments on art and related #ssues are rel#cs from a B#ctor#an a&e* one wh#ch del#&hted #n &rand statements and or&ulous) ma&n#f#cent artwor's( 5e man#fested then a pr#de #n our a&e and a fa#th #n the worth of our constructs) whch I) personall!) would dearl! lo"e to e.#st #n some form toda!(
he stor! toda! #s depress#n&l! d#fferent( Art and #deas are d#sposa$le* Condons &rand and e"erlast#n& Cr!stal Palace could ne"er $e $u#lt #n a post-modern world #nstead we ha"e a temporar! M#llenn#um /ome) $u#lt to stand for a wh#le and then $e ta'en awa!( It was a mo"#n& moment for me when the &#lded and ostentat#ous Al$ert Memor#al was unco"ered #n Condon a few !ears a&o after $e#n& reno"ated to #ts former h#&h B#dor#an &lor!( he post-colon#al &u#lt felt $! #ntellectual m#ddle-Amer#ca has no dou$t &#"en r#se to some of the w#lder e.cesses of hermeneut#c relat#"#sm) and we can no lon&er comforta$l! ma'e def#n#t#"e and o$%ect#"e statements a$out oursel"es and the world for fear of oppress#n& and offend#n&( 5e ma! ha"e left $eh#nd the mental#t! that %ust#f#ed sla"er! and the Br#t#sh 3mp#re) $ut #nstead we ha"e "eered close to a '#nd of #ntellectual n#h#l#sm( 5e ha"e left the wor'houses for trend! schools and parent#n& schemes wh#ch would ne"er #mpose structure and d#rect#on upon ch#ldren for fear of oppress#n& them w#th ,d#sc#pl#ne(
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Unfortunatel! for Ne"#l Mas'el!ne) we can no lon&er tal' of art #n the same wa! that he does #n th#s ma&n#f#cent $oo'( S#nce h#s wr#t#n& #n 2F22 art theor! has swun& and leapt #n "ar#ous d#rect#ons) and the complacenc! of that per#od #s far $eh#nd us( It #s worth loo'#n& at Mas'el!nes approach to def#n#n& art and the mo"ement of aesthet#c theor! and the Ph#losoph! of Art o"er the centur! to our current s#tuat#on( hen) perhaps) a new defence can $e offered for our owrD am$#&uous t#mes( If we can allow oursel"es "al#dl! to approach ma&#c as ha"#n& the potent#al of art) then we can approach #t as more than craftsmen and cop!#sts( In do#n& so) we can de"elop creat#"el! and start to e7press someth#n& w#th our wor'(
5eU) #t #s worth tread#n& carefull! #nto deeper waters #n th#s case( h#s Platon#c-Ar#stotel#an not#on of art as #m#tat#on no lon&er stands( As a theor!) #t was the f#rst h#stor#cal attempt to pro"#de a necessar! cond#t#on for art status( Known as the mimetic theory, #t was well- su#ted to the da!s of Gree' tra&ed!) $ut ult#matel! falls flat toda!( rue) a ma&#ca# effect does #m#tate a supernatural occurrence) $ut #f th#s cr#ter#on for art status #s #nsuff#c#ent) then we cannot allow ma&#c to stand as art accord#n& to #t( ;ead#n& Mas'el!nes ar&ument at th#s po#nt) I am surpr#sed that he chooses the word ,#m#tate o"er ,represent( he representat#onal theor! of art #s the softened "ers#on of the m#met#c theor!) and a moments cons#derat#on w#ll see the w#sdom of the sh#ft( 5hat) after all) does a p#ece of mus#c imLtate. Or a no"el@ Both ma! represent emot#ons or #deas) $ut ne#ther #m#tates an!th#n&) unless we are pla!#n& Aarni al of the )ui,nals to a least fa"our#te ch#ld and po#nt#n& out Sa#ntSaens amus#n& use of the orchestra to con%ure up the sounds and frol#cs of $est#al lar'#n& a$out( But other than the fam#l#ar #nstrumental sounds of $#rdson&) $a$$l#n& $roo's and the l#'e) mus#c #s rarel! &o#n& to $e concerned w#th #m#tat#on( C#terature #s e"en further remo"ed from the #dea of #m#tat#on) and more l#'el! to $e ta'en up w#th the $us#ness of representat#on( h#s ma! seem a pedant#c po#nt) $ut #t #s "#tal to $u#ld#n& an understand#n& of what art m#&ht $e(
Is #t enou&h) then to hold that . #s art as lon& as #t #s a representat#on@ As I s#t here alone as God #ntended #n m! f#rst-class carr#a&e of the 2L(2L from Br#stol to Padd#n&ton tapp#n& awa! on a $rand-new laptop computer) I see to m! r#&ht a compl#mentar! cop! of the 4unday Times open to the tele"#s#on sect#on( 2 see a two-pa&e spread represent#n& the da!s tele"#s#on screen#n&s( I see representat#on) $ut I do not see art( N#cel! la#d out as #t #s( I would en&a&e the stewardess #n a d#scuss#on of the pro$lem) $ut ha"e so far successfull! a"o#ded $u!#n& a t#c'et for th#s %ourne! someth#n& of a ha$#t of m#ne( 2 do not w#sh to attract undue attent#on( If she starts tal'#n& a$out th#s pro$lem of art-as-representat#on herself I shall %ust lau&h and lau&h and lau&h(
Clearl! there can $e representat#on w#thout art) $ut more #nterest#n&l! there #s plent! of art around de"o#d of representat#on( German e.press#on#st dance) much modem theatre) and plent! of a"ant-&arde art represent noth#n& and refer onl! to themsel"es and the art#st#c conte.t #n wh#ch the! are to $e #nterpreted( hose people who %ud&e the art#st#c mer#t of a pa#nt#n& $! how closel! #t represents #ts su$%ect matter #n l#'eness are 'nown well to the rest of us as Ph#l#st#nes( hese men 7to descr#$e a pecul#arl! Br#t#sh cl#chO8 s#t $eh#nd the m#n#-$ar #n the corner of the moc'udor front room of the#r n#neteen-se"ent#es house w#th the nast! oa' nameplate and the homemade pat#o transferr#n& #ce-cu$es from a plast#c p#neapple #nto a &lass of ;osO w#ne wh#le the! l#sten to a C/ of the Condon Ph#lharmon#c pla!#n& orchestral "ers#ons of soft-roc' class#cs and #ns#st on po#nt#n& out all sorts of amus#n& deta#ls h#dden #n a ser#es of fourth-rate pr#nts of $ad sent#mental B#ctor#an( pa#nt#n&s and a couple of well-'nown #mpress#on#st p#eces that ha"e $een #nd#fferentl! framed and are f#.ed f#rml! to the floral wall $eneath the fr#eAe and near the enormous stal's of coloured pampas &rass and em$ro#dered poetr!( 5ell) I ma! not 'now much a$out pretens#on) $ut I 'now what I l#'e( he tendenc! to cl#n& un'now#n&l! to the representat#onal theor! of art and e-uate photo&raph#c l#'eness w#th art#st#c success #s &enerall! seen as a s#&n of #&norance( Should !ou $e $al'#n& at the su&&est#on of sno$$er! #n th#s stra#&htforward fact) I need onl! rem#nd !ou that I refra#n fe"er#shl! from referr#n& to those who possess no 'nowled&e of ma&#c techn#-ue as ,la!people( hat str#'es me as a far more r#d#culous pompos#t!(
rt as !xp"ession
Art as representat#on rema#ned the most popular theor! throu&hout most of art h#stor!) and #n man! wa!s #t was the dawn of photo&raph! wh#ch forced chan&e to the scene( Once #t $ecame poss#$le effortlessl! to capture a l#'eness w#th the camera) real#st pa#nt#n& was #n dan&er of seem#n& redundant( +owe"er) the n#neteenth centur! saw the f#rst ma%or sh#ft awa! from the representat#onal theor! of art to an e7pressionist one( he art#st as an almost sc#ent#f#c recorder of accurac! was slowl! replaced $! the art#st as a frustrated emot#onal creature) us#n& h#s med#um to e.press profoundl! felt sent#ment( /a#nt! poets w#th "el"et %ac'ets 7-u#te charm#n& couture e"en to th#s da!8 spran& up #n Par#s salons all o"er the world) sport#n& lace hand'erch#efs #nto wh#ch the fash#ona$l! consumpt#"e could no#s#l! cou&h $lood( here was a pa#ned) fr#ll!
effem#nac! to art of th#s t#me wh#ch was not seen a&a#n unt#l the popular mus#c of the n#neteene#&ht#es ;ather than represent#n& the e.ternal world) #t $ecame the lot of the art#st to e.press h#s #nternal one( /esp#te man! !ears fam#l#ar#t! w#th the #ssues of a"ant-&arde and post-modern art) #t #s st#ll the Bohem#an #ma&e of the stru&&l#n& art#st that dom#nates the popular concept#on toda!( he emot#onal saturat#on of art was a consc#ous re$ell#on a&a#nst the old school of the e#&hteenth centur!) and freed the art#st to e.plore h#s med#um and h#mself( Perhaps most dramat#call!) Beetho"en chan&ed the face of mus#c fore"er( he ref#nement of the Baro-ue a&e) most perfectl! and powerfull! e.ecuted $! Bach) alread! ha"#n& $een coarsened under MoAart) now &a"e out to a "er! d#fferent a&enda* mus#c $ecame a &ush#n& e.press#on of emot#on) !#elded #ts secrets upon f#rst l#sten#n& and pro"#ded sent#mental substitutes for the most affect#n& e.per#ences of l#fe rather thanas Bach and the ;ena#ssance sacred choral masters $efore h#m had offered) e.-u#s#te distillations of the r#chness of e.#stence( Mus#cal ph#l#stmn#sm st#ll har's $ac' to the ethos of th#s per#od( Mus#c) to -uote ;o$ertson /a"#es) #s l#'e w#ne* the less !ou 'now a$out #t) the sweeter !ou l#'e #t( 5#th th#s sh#ft also came a new wa! of see#n& for the "#sual art#sts( Nuest#on#n& the wa! #n wh#ch we perce#"e fleet#n& real#t!) the earl! #mpress#on#sts $e&an to render on can"as what seemed to them to $e an accurate record of the #mpress#on of real#t! wh#ch we rece#"e( h#(s &rew #nto more and more a$stract#on throu&h the cu$#st mo"ement) as the "er! nature of art $e&an to $e -uest#oned #n a wa! that would ta'e us r#&ht to the a"ant-&arde art that we 'now toda!( B! the t#me that Mas'el!ne and /e"ant were wr#t#n&) theor#es of art-as-e.press#on were "er! popular( 9reuds wor's) wh#le alread! 'now## to academ#cs) were a$out to e.plode upon the art#st#c scene) and add a sc#ent#f#c "al#d#t! to the deepl!-wrou&ht ur&es and emot#ons of art#sts $! popular#s#n& the #dea of the unconsc#ous) It would seem that Mas'el!nes refusal to step #nto the ,deep waters of art theor! ma! ha"e $een connected w#th a des#re to a"o#d the #ssue of art as e.press#on) $ut e"en so) he does seem to $e wor'#n& from a dec#dedl! old-school start#n& po#nt for h#s da!( 3.press#on theor#es of art a$ound and "ar!) form#n& the popular concept#on of what const#tutes art status( olsto! popular#sed th#s #dea of art as the e.press#on( or communication of emot#on( In h#s del#&htful essa!s on the su$%ect 75hat #s )rt. )nd 3ssa!s on )rt2, he def#nes art as ,an act#"#t! $! means of wh#ch one man) ha"#n& e.per#enced a feel#n&) #ntent#onall! transm#ts #t to others( Bernard Shaw descr#$ed th#s as ,the s#mple truth> the moment #t #s uttered) whoe"er #s reall! con"ersant w#th art reco&n#ses #n #t the "o#ce of the master( +owe"er) accord#n& to olsto!s def#n#t#on) #f I am attac'ed #n the street $! a $ull and then descr#$e the #nc#dent to a th#rd part#es) tell#n& the stor! #n such a wa! that the! are roused to feel m! pa#n) then I ha"e #nfected them w#th m! emot#on and therefore created a wor' of art( Surel! we would f#nd th#s an unhapp! conclus#on) and #n th#s wa! the theor! #s too #nclus#"e( S#m#larl!) olsto! would f#nd no"els and supposed artwor's that deal w#th emot#ons not e.per#enced $! the author to $e counterfe#t art( S'#lful man#pulat#on of lan&ua&e to produce an
emot#onal effect would not $e enou&h to -ual#f! as true art( As far as the art#st #s concerned)
it #s necessar! that he should stand on the le"el of the h#&hest l#fe-concept#on of h#s t#mo) that he should e.per#ence feel#n&) and ha"e des#re and capac#t! to transm#t #t) and that he should moreo"er ha"e a talent for some one of the forms of art(=
As#de from the c#rcular#t! of th#s statement 7for #t #s demand#n& a talent for art as a -ual#f#cat#on for status as an art#st) wh#ch rather $e&s the -uest#on8) #ts seem#n& stra#&htforwardness( #s also $el#ed $! the pro$lem of e.clus#"eness( hrou&hout h#s essa!) olsto! upholds the s#mple #dea that to -ual#f! as a wor' of art) a p#ece need onl! $e an e.press#on of feel#n& that #nfects the rec#p#ent) 7#ntellectual theor#s#n& and art cr#t#c#sm #s therefore) accord#n& to h#s #dea) redundant)8 /oes th#s hold w#th what we accept as art nowada!s@ If we hold an actors performance to $e a wor' of art) we cannot alwa!s do so under th#s theor! of transm#tt#n& emot#ons to aud#ences( It #s necessar! 7accord#n& to that theor!8 that the art#st transm#t the same feel#n& that he has e.per#enced( If he #s pla!#n& a "#lla#n) he ma! w#sh to transm#t a feel#n& of an#mos#t!) $ut w#ll presuma$l! not $e feel#n& that hatred h#mself a$out the character( S#m#larl!) an art#st w#ll often emplo! a techn#-ue to create an effect upon an aud#ence) one wh#ch w#ll #nduce an emot#onal effect) $ut wh#ch #s calculated rather than e.per#enced $! the art#st( It seems a romant#c not#on 7of the truest '#nd8 to e.pect the art#st to $e suffer#n& the turmo#l wh#ch he man#fests upon paper or can"as( More clearl!) there #s plent! of art) wh#ch a$solutel! def#es the e.press#on#st theor!( Some) l#'e the S!m$ol#st art of the late n#neteenth centur!) merel! su&&ests "a&ue moods rather than transm#tt#n& part#cular emot#onal states( It was pr#Aed for #ts elus#"eness( Others) l#'e the Surreal#sts and "ar#ous a"ant-&arde art#sts) ha"e produced ,aleator#c art) that #s) art that #s randoml! &enerated and purposefull! e.presses notht&( Also) accord#n& to th#s transm#ss#on theor!) the emot#ons #n -uest#on must $e personal and #nd#"#dual#Aed rather than &ener#c 7otherw#se e"er! &reet#n&s card would $e an artwor'8) $ut th#s does not #ca"e room for much rel#&#ous art) wh#ch for centur#es was pa#nted to e.press the same &ener#c sent#ments( hese are wor's wh#ch ma! $e amon&st our f#nest art treasures) !et do not fulf#l the cr#ter#a of art as an #ntended transm#ss#on of the self-same indi iduali-ed emot#on that the art#st has h#mself e.per#enced( A&a#n) some wor's such as those of 3scher present us( w#th perceptual puAAles) and are co&n#t#"e rather than emot#"e #n nature( Are we to den! them art status@ 5hat ol the "ast amount of modem pa#nt#n& and performance that #s created to ma'e us -uest#on the nature of the &enre@ German 3.press#on#st dance) alread! ment#oned) #s t!p#call! concerned w#th the nature of dance) #n the same wa! that pa#nt#n&s that show onl! a few $loc's of colour are there pr#mar#l! to ma'e us -uest#on our preconcept#ons a$out what pa#nt#n& #s( At another le"el) there are lo&#cal pro$lems w#th th#s #dea of arous#n& #n the aud#ence the same emot#on that #s e.pressed #n the p#ece( A character #n a f#lm or no"el ma! e.press remorse for) sa!) a murder) $ut the aud#ence w#ll $e #nfected not w#th remorse $ut p#t!( he! themsel"es ha"e '#lled no one) therefore the emot#on e.pressed and the emot#on aroused w#ll not $e the same( Or perhaps the emot#on aroused #s not a human -ual#t!( A pa#nt#n& ma!) for e.ample) e.press fort#tude) wh#ch #s not poss#$le to arouse #n an aud#ence( And some artwor's ma! e.press anthropomorph#c propert#es l#'e an&er or des#re) $ut lac' the resources to arouse those emot#ons #n the aud#ence( Orchestral mus#c #s l#'e th#s* one does not l#terall! $ecome an&r! when l#sten#n& to a p#ece that e.presses an&er) for an&er needs an o$%ect to $e an&r! a$out) a cr#ter#on that mus#c does not #nherentl! suppl!( And what of ma&#c@ I feel that where ma&#c #s spo'en of as art) #t #s w#th#n the area of art-ase.press#on that a defence #s offered( I th#n' #mmed#atel! of the ma&#cal theatre of Penn and eller)
of the#r ma&#c) wh#ch e.presses so deftl! a part#cular world-"#ew throu&h dramat#c and emot#onall! en&a&#n& presentat#on( he power of the#r l#"e performances depends upon the#r clear "#s#on and the understand#n& of theatre throu&h wh#ch that "#s#on #s e.pressed( I th#n' also of the preoccupat#on of man! close-up ma&#c#ans who force #nappropr#ate a&enda upon presentat#ons of card-tr#c's and the l#'e) render#n& them pretent#ous and self-consc#ous ,art#st#c efforts wh#ch ha"e a$out them a contr#"ance and a sense of &ross n##s%ud&ement( 9or the moment) thou&h) let us cont#nue #n f#nd#n& a wa! of understand#n& how one m#&ht arr#"e at a means of conferr#n& art status( he e.press#on theor! #s not wholl! satisfying!
he theor! carr#es across well #nto orchestral mus#c) wh#ch ne"er sat comforta$l! w#th the representat#onal theor#es( It allowed wor's pre"#ousl! d#sallowed as art 7such as decorat#"e arts and other nonrepresentat#onal areas8 to $ecome enfranch#sed) and would seem to $e a welcome departure from the pre"#ous theor#es wh#ch were concerned w#th the content of a p#ece 7and therefore were doomed to fa#lure as #ne"#ta$le chan&es #n art#st#c concerns cont#nuall! chan&ed the role of art and the art#st8( As well as non-representat#"e art) #t allows) for e.ample) for the none.press#"e art ment#oned #n the last sect#on for all these artwor's w#ll st#ll ha"e the common denom#nator of s#&n#f#cant form(
4
+owe"er) a mathemat#cal theorem also has s#&n#f#cant form !et #s not art) so there #s a further -ual#f#cat#on to $e made) namel! that the p#ece must $e designed primarily in order to possess and to e7hibil significant form!
A class#c o$%ect#on to th#s theor! comes #n the &rotes-ue shape of the "ar#ous demon f#&ures car"ed #n parts of the pr#m#t#"e wortd to ward off #ntruders( he! are des#&ned to scare people) and #t would $e lud#crous to su&&est that the! are made w#th an! #ntent#on to e.h#$#t form( Indeed) th#s '#nd of co&n#t#"e cons#derat#on of the p#eces would defeat the#r purpose( :et we show these p#eces #n our museums and count them as artwor's( So #n th#s wa!) the formal#st theor! #s too e.clus#"e( If we drop the cr#ter#on of intention, then we would ho"e to #nclude nature as art) for nature also possesses s#&n#f#cant form( O$"#ousl! th#s cannot $e allowed( But perhaps the $#&&est
pro$lem w#th the not#on of s#&n#f#cant form #s how we dec#de what form #s s#&n#f#cant) and there #s no answer that can $e offered here wh#ch #s not c#rcular or e-uall! as #ll-def#ned( Modern mus#c af#c#onados w#ll 'now the <ohn Ca&e p#ece called TS MM, wh#ch cons#sts of a p#an#st s#tt#n& at the 'e!$oard for that per#od of t#me $ut not str#'#n& an! of the 'e!s( he po#nt of the p#ece #s that we) as an aud#ence) $ecome attuned to an! aud#$le sounds for that per#od) sounds that $ecome the p#ece #tself( Sounds of cha#rs scrap#n&) and mem$ers of the aud#ence cou<D&) !awn#n& and so$$#n& would all $ecome part of that performance( herefore #t cannot $e ar&ued that the p#ece has an! form) for #t #s d#fferent #n e"er! performance and purposefull! formless( h#s and other formless p#eces e.#st) and are cons#dered art( he formal#st theor! s#mpl! #s not w#de enou&h to e.pla#n th#s( A s#m#lar pro$lem e.#sts w#th the monochrome pa#nt#n&s of ;e#nhardt and the l#'e alread! ment#oned* as $loc's of s#n &le colours) the! cannot $e sa#d to possess form( 9urthermore) we added the not#on of a pr#mar! #ntent#on to e.h#$#t form as a means of d#sallow#n& such th#n&s as a mathemat#cal theorem status as art( But what of the mathemat#c#an who produces a more ele&ant "ers#on of an alread! 'nown truth@ Or the chessmaster who s#m#larl! #ntends to e.h#$#t form #n terms of ele&ance@ hese people are #ntend#n& to show s#&n#f#cant form) !et we st#ll cannot ca#l #t art( /a# Bernon was 'nown to us for re"olut#on#s#n& man! aspects of ma&#c) and #n teach#n& a s#mpl#f#ed and more ele&ant means of card control to a 'nowled&ea$le aud#ence) and one wh#ch #mpro"es upon a pre"#ous "ers#on) he could $e sa#d to $e ha"#n& the pr#mar! #ntent#on to e.h#$#t s#&n#f#cant form( :et ne#ther the mo"e nor the act of teach#n& #t #s in itself art( Between these pro$lems and the ne&lect ol the role of content #n conferr#n& art status) formal#sm fa#led and neo-formal#sm too' o"er( h#s latter theor! demanded that the wor' ha"e $oth form and content and that the $oth are related to each other #n a sat#sf!#n&l! appropr#ate manner( h#s w#ll allow for Ca&es p#ece* #t has a form that #s sat#sf!#n&l! appropr#ate to #ts content( If he wants us to real#se that ord#nar! sounds are worth l#sten#n& to) he has come up w#th a "er! &ood wa! of ensur#n& thaC But the #dea of content #(e() a meaning to the wor') the th#n& that the wor' #s a$out) #s a pro$lemat#c one( here #s plent! of art that has no mean#n&) and #s there s#mpl! to create an effect on #ts aud#ences( ;ococo #ronwor' f#l#&ree) much arch#tecture and ornamentat#on ma! %ust $e there to $e pleasura$le) !et we call #t art( Much orchestral mus#c ma! $e the same( herefore th#s rewor'#n& of the formal#st account st#ll fa#ls due to the pro$lem of necessar! contentJmean#n&(
4
Ma&#c at #ts $est #s "er! much a$out a sat#sf!#n&l! appropr#ate retat#onsh#p $etween form and content( +owe"er) #t #s the case that #f one ma&#c#an performs the mater#al of another 7and dear God #t has happened #n the past8) the form) content and relat#onsh#p $etween the two ma! rema#n the same) $ut we cannot call th#s t!pe of performance art( he performer #s not an art#st) he #s a cop!#st( he or#&#nal performance may ha"e $een art) $ut the effect alone cannot carr! that status( An #nterest#n& #ssue ar#ses here wh#ch ma! help us( he form of a pa#nt#n& e.#sts #n the arran&ement of l#nes and colours made $! the art#st( If th#s arran&ement supports the mean#n& of the p#ece 7for e.ample) #t draws our e!e to the area of the pa#nt#n& where the ma#n act#on #s occurr#n& and &u#des us throu&h the wor' #n a way wh#ch clearl! commun#cates the s#tuat#on at hand8) then we ha"e a p#ece of art accord#n& to the neo-formal#st account( In ma&#cal performance) are the rout#nes themsel"es form or content@ It #s tempt#n& to answer that the! must $e the content of the performance) $ut I would d#sa&ree( 5e ha"e seen that #n th#s formal#st account of pa#nt#n&) the content #s the meaning of the p#ece) not the components of the p#cture( In a ma&#cal performance) the rout#nes are analo&ous to theform of the pa#nt#n&* the! are cho#ces made $! the performer to support the meart#n& of h#s performance( 5hat #s that mean#n&@ 5hat #s the content of the performance #f #t #s not the tr#c's themsel"es@ It #s the "#s#on of the performer) the po#nt of h#s ma&#c( It #s what he #s choos#n& to e.press throu&h the performance( h#s) then) #s m! not#on of the Greater 3ffect) where we must see #nd#"#dual rout#nes as mere methods to ach#e"#n& the ma&#cal effect) wh#ch #s the ma&#c#an and h#s performance and
whate"er he #s choos#n& to sa! w#th h#s ma&#c( And #n the same wa! that we must su$ord#nate method to effect #n ma&#c) so too we must alwa!s loo' to the &reater effect of our performance and see the #nd#"#dual tr#c's as retat#"el! un#mportant( In a poor performance where there are onl! tr#c's o"er wh#ch to puAAle) then those rout#nes are stand#n& as content) wh#ch #s art#st#call! d#ssat#sf!#n&) for the! &o nowhere( Under these c#rcumstances) ma&#c stands onl! as a craft( 5hen there #s no mean#n& to wh#ch the effects relate #n a sat#sf!#n&l! appropr#ate manner as form) then there #s no art(
5e are closer to our &oal) !et we ha"e seen that the forma##st accounts do not stand as a rel#a$le means of conferr#n& art status( So we must mo"e on(
th#s t!pe of attent#on and contemplat#on e.#st for #ts own en%o!ment) rather l#'e the en%o!ment of pla!#n& a chess match re&ardless of who w#ns( I am not con"#nced that th#s descr#$es the e.per#ence of ma&#c) $ut does #t hold as a rel#a$le means of conferr#n& art status@ 5ell) no #t doesnt( /eal#n& w#th the content-or#entated account) there are wor's wh#ch purposefull! a"o#d the aesthet#c propert#es of un#t!) d#"ers#t! and #ntens#t!) such as 5arhols e#&ht-hour shot of the 3mp#re State Bu#ld#n& called Empire! It draws our attent#on #nstead to presuppos#t#ons we ha"e a$out f#lm* #t has a -u#te d#fferent a&enda from el#c#t#n& the class#c aesthet#c response( As re&ards the affect- or#entated account) #t #s the case that plent! of artwor's ma! ha"e an a#m to rouse an aud#ence to protest or to chan&e aspects of the#r l#"es( h#s #s clearl! opposed to the #dea of d#s#nterested contemplat#on( And our demon#c f#&ures ment#oned earl#er) des#&ned to ward off dan&er) were not made w#th the #ntent#on of produc#n& that t!pe of contemplat#on( he t!pe of artwor' 'nown as a ,read!made) such as /uchamps 6ountain, wh#ch #s s#mpl! a ur#nal on d#spla!) has an #ron#c -ual#t! a$out #t) wh#ch renders #t pro"ocat#"e of aesthet#c e.per#ence because #t #s d#spla!ed as art) not "#ce-"ersa( It a$solutel! turns the aesthet#c def#n#t#on of art on #ts head( In that wa!) th#s account of aesthet#c e.per#ence #s too narrow to stand as a means of conferr#n& art status(( $ut #n other wa!s #t #s too $road( I del#&ht #n those compl#cated <ules-Bern#an espresso mach#nes wh#ch one sees #n the $el#er department stores) w#th the#r e.c#t#n& arra! of chrome 'no$s and le"ers wh#ch would almost ent#ce me to spend the three--uarter of a m#ll#on pounds on one) were #t not for the fact that for me) stron& coffee leads to a $ump! r#de and occas#onal dera#lment on the tumm!-tra#n to $ottom-land( I can apprec#ate these spar'l#n& wonders of des#&n w#th all that d#s#nterested and s!mpathet#c contemplat#on and attent#on) $ut coffee mach#nes) mass-produced and sold #n stores) are not art( Bes#des) #t #s clear that the e.per#ence of a spectator of a ma&#c effect that m#&ht $e art #s not &o#n& to $e as detached as the aesthet#c def#n#t#on demands) unless that spectator #s a fellow ma&#c#an merel! adm#r#n& techn#-ue( But e"en then) #t #s surel! rare that he w#ll $e watch#n& w#th no other mot#"at#on than to mar"el at and cons#der the art#str! of the performer( And #t #s not %ust the case w#th ma&#c that the response of the "#ewer w#ll not $e restr#cted to an aesthet#c one( Art ma! pro"o'e an! num$er of co&n#t#"e) emot#onal and moral e.per#ences* to restr#ct the e.per#ence of art to an aesthet#c one #s m#ss#n& too much( Una$le to stand as a conclus#"e def#n#t#on of art) we need not $e concerned that ma&#c does not pro"o'e th#s '#nd of response(
)gainst Definition
So far) no attempt to def#ne art has pro"ed sat#sfactor!( 9ar from $e#n& a mean#n&less meander) #t alerts us to the l#m#tat#ons of most ar&uments a$out art( Unconsc#ousl! or otherw#se) most people when tal'#n& a$out whether someth#n& #s or #s not art) $ase the#r ar&ument upon a def#n#t#on wh#ch can $e shown to $e far too e.clus#"e) #nclus#"e) or $oth( It starts to seem fundamentall! wron& to tr! and def#ne art $! means of a theorem) espec#all! &#"en the fore"er chan&#n& nature of art and what passes as such( ft also means that we must $e a l#ttle scept#cal of wr#ters such as Mas'el!ne and Sharpe who openl! $e&#n the#r d#scuss#ons of ma&#c and art on a def#n#t#on of what art cons#sts of! 9or the presumpt#ons made $! the wr#ters of that t#me are now clearl! #nappropr#ate &#"en the role of art toda!( :et we st#ll need to dec#de whether we can confer art status to ma&#c or an! other cla#mant) for #n ma'#n& that dec#s#on) we ascerta#n how we should respond to #t( Should we attempt to #nterpret the wor'@ Should we e.plore #ts aesthet#c propert#es@ +ow much attent#on should we &#"e #t@
It was prec#sel! the r#se of the a"ant-&arde) wh#ch caused art theor! to $rea' w#th fore"er tr!#n& to come up w#th a conclus#"e def#n#t#on of art( he f#rst ma%or school of thou&ht to form was that of the Neo5#tt&enste#n#ans) who too' art to $e an 6open concept)= #n wh#ch new cond#t#ons and cases w#ll constantl! ar#se) render#n& #t( accord#n& to a fre-uentl!-c#ted Neo-5#tt&er#ste#n#an) Morr#s 5e#tA) 6lo&#call! #mposs#$le to ensure an! set of def#n#n& propert#es(= Instead of attempt#n& to reduce art to a theorem) th#s approach loo's for 6fam#l! resem$lances= $etween accepted) parad#&mat#c art and the wor' that #s cla#m#n& art status( A"o#d#n& the #dea of def#n#t#on) #t merel! as's us to compare what we are see#n& w#th what we 'now art to $e from pre"#ous e.amples( herefore #f a cla#mant for art status resem$les someth#n& pre"#ousl! accepted as art) then we dec#de that #t #s #ndeed art( 3"en someth#n& "er! new and re"olut#onar! w#ll ha"e reco&n#sa$le -ual#t#es #ron!) perhaps wh#ch can $e found #n pre"#ous wor's(
4 4
h#s ma! seem a w#ser path to ta'e( ;ather than l#m#t#n& oursel"es to a cond#t#on for art) we en&a&e #n an act#"e process of compar#son) and %ud&e accord#n&l!( h#s) I $el#e"e) #s the 'e! to our pro$lem) $ut the neo-5#tt&enste#n#an approach #s st#ll not -u#te r#&ht( he e.ample of /uchamps 6ountain 7the ord#nar! ur#nal on d#spla! as art8 causes pro$lems w#th the #dea of ,fam#l! resem$lances) for accord#n& to th#s not#on) e"er! other ur#nal of s#m#lar des#&n would $e art( It #s of course not the ur#nal #tself) $ut the fact that #t #s d#spla!ed as art) wh#ch &#"es #t #ts "alue* #t ma'es us -uest#on what we are prepared to accept as art and rather #mportantl! 7and I shall return to th#s po#nt8) makes us look at urinals a little differently! he fact that th#s sounds so r#d#culous #s prec#sel! the po#nt( here #s a 9urther pro$lem) #n that the not#on of ,fam#l! resem$lances presupposes a fam#l!* some conte.t) wh#ch "al#dates those resem$lances and pro"#des a h#stor! of features( +owe"er) we would not dec#de whether a ch#ld $elon&ed to a fam#l! $! #ts features) rather we would not#ce an! ph!s#cal resem$lances once we 'now the fam#l! to wh#ch #t $elon&s( In other words) the not#on onl! has rele"ance #f we presuppose that the cla#mant alread! $elon&s to the ,fam#l!* #(e( #f #t #s alread! an artwor'( he not#on therefore #s #n dan&er of c#rcular#t!* #t #(s not -u#te accuratel! formulated to pro"#de a sat#sfactor! approach to loo'#n& at a wor'( But we are close to a rel#a$le modeE for understand#n& how we dec#de a p#ece to $e art(
+ow do we dec#de@ 5e loo' at the new p#ece and see #f #t has rele"ance to that stor!( 5e see #f #t cont#nues a thread or an ar&ument alread! ra#sed) or de"elops a pre"#ous ar&ument* whether #t reflects ac'nowled&ed ,art re&ards( 5e ta'e these re&ards and trace them $ac' as threads
throu&h the stor! of art and see whether the! ha"e rele"ance toda!( lerhaps the! w#ll $e rele"ant #n that the! ma! o"erthrow pre"#ous presumpt#ons( But now that art #s so concerned w#th ra#s#n& -uest#ons and challen&#n& an aud#ence at some le"el) we can see how a p#ece stands up #n l#&ht of those -uest#ons and challen&es) and test #ts rele"ance for a contemporar! aud#ence( h#s process #s act#"e* #t #s a d#alo&ue of sorts( Also) we stress that the art#st#c a#ms referred to $! #dent#f!#n& narrat#"es are ,l#"e and reco&n#sed( herefore a hol#da! snapshot of a landscape #s not art) althou&h a n#neteenth-centur! pa#nt#n& of the same landscape #s 7another pro$lem for the not#on of ,fam#l! resem$lances8* and rather than #ndul&e #n semant#c ara$es-ues to arr#"e at necessar! and suff#c#ent cond#t#ons that allow for that d#fference and others l#'e #t) we s#mpl! see that the photo&raph has no rele"ance to the pre"a#l#n& a#ms of art( Althou&h the apprec#at#on of "er#s#m#l#tude #s a reco&n#sed art re&ard) #t #s no lon&er enou&h on its ou*A to -ual#f! as a rele"ant and l#"e art#st#c a#m( On the other hand) we ma! dec#de that a watercolour of the same landscape pa#nted toda! ma! #ndeed $e art) $ut we would not deem #t as ha"#n& an! real rele"ance( 5e can accept /uchamps 6ountain w#thout worr!#n& a$out what to do w#th other ur#nals) for we can trace the #ssue #t ra#ses 76what #s ad@=8 $ac' throu&h "ar#ous wor's to the cu$#sts a&enda( It was rele ant to the stor! at #ts t#me( h#s approach presupposes a rec#procal understand#n& $etween art#sts and aud#ence) and a"o#ds the char&e of c#rcular#t!) for we are not attempt#n& to pro"#de a def#n#t#on(
h#s certa#nl! seems the most plaus#$le model on offer( All attempts to pro"#de a def#n#t#on of art throu&h the a&es ha"e fa#led #n the C#&ht of a"ant-&arde art( :et we cont#nue happ#l! to confer art status to wor's) so clearl! the apparent d#ff#cult! #n theor! #s not reflected #n pract#ce* someth#n& must $e wron& #n our attempts to theor#se( he not#on of art as a h#stor#cal narrat#"e pro"#des a solut#on to that parado.( It also seems the most true-to-l#fe opt#on( 5hen we see a new wor') and stare nonp#ussed at a woman under&o#n& perpetual sur&er! and call#n& herself art) we ma! stru&&le to wonder how) on the surface of th#n&s( such act#"#t! ma! fa#l #nto an! reco&n#sed cate&or! of art( Bu an awareness of art #ssues and ac'nowled&ed art re&ards of the da! w#ll pro"#de the necessar! #nformat#on to understand wh! #t has rele"ance and #s accepted $! the art-world as "al#d(
All th#s #s poss#$le) and all th#s means that the performers of the da! could ha"e defended the#r wor' as art( But each one of them would ha"e $een procla#m#n& from the#r part#cular chapter #n the stor!( Now that the stor! has mo"ed on) we cannot accept the#r %ust#f#cat#ons( 5e must #nstead ma'e sure that what we do has rele"ance to that stor!( Ma&#c ma! #ndeed $e #m#tat#on) $ut that #s no lon&er rele"ant as a re&ard(
5hat) then) can ma&#c offer that #s rele"ant to our current chapter #n the de"elop#n& stor! of art@ 5ell) we could ta'e an! con%uror and place h#m #n a $eaut#ful Sw#ndon art &aller! as an e.h#$#t and ha"e h#m perform rope ma&#c( It would not $e at all d#ss#m#lar to putt#n& a ur#nal on d#spla!( People would pass $!) see#n& someth#n& wh#ch #s not normall! art and -uest#on #ts rele"ance( But we would $e as'#n& them to reflect on the nature of art) wh#ch #s not the purpose of ma&#c( A ma&#c#an e.h#$#ted thus would not $e transm#tt#n& wonder) wh#ch #s part of the purpose of what he must do( +ere) we would $e pro"o'#n& the '#nd of d#s#nterested and s!mpathet#c cons#derat#on assoc#ated w#th the aesthet#c response( he art would not come from the ma&#c #tself> onl! the plac#n& of a performance #n a certa#n conte.t( It m#&ht $e art) #f a l#ttle outdated) $ut would not answer our -uest#on( he fact #s) ma&#c #s we#&hed down $! #ts assoc#at#ons w#th "aude"#lle and #ts &eneral pract#ce( It #s not assoc#ated w#th performance art #n the same wa! that) sa!) street theatre #s* #t #s #nherentl! "er! old-fash#oned #n that re&ard( here #s noth#n& #nherent #n the form of ma&#c to ma'e #t demand attent#on as a poss#$le art cand#date( he not#on of decept#on does also not $ode well w#th the #dea of modern art re&ards* the product#on and en%o!ment of #llus#on was "er! much part of the B#ctor#an a&enda( herefore the nature of ma&#c as decept#on also counts a&a#nst ma&#c ha"#n& an! art#st#c rele"ance( he same #s to $e sa#d for wonder( Much as we tal' a$out #t as the supreme art#st#c a#m of ma&#cal performance) the fact #s that the product#on of wonder #s an outdated art re&ard that reached #ts lo"el! he#&ht #n the n#neteenth centur!( herefore) #f we do noth#n& $ut promote wonder) we ma! $e do#n& what ma&#c does $est) $ut are not pro"#d#n& rele"ant art( It #s the e-u#"alent of the wor' of a local landscape pa#nter) pa#nt#n& prett! p#ctures that would ha"e $een rele"ant art at one po#nt #n h#stor! $ut wh#ch are now prett! poor #n su$stance( 5e w#ll at $est $e produc#n& what Sharpe calls ,9ormal Art* art $u#lt accord#n& to a con"ent#onal formula( 3"en #f we pro"#de #t #n h#s Profound St!le) we w#ll st#ll $e produc#n& someth#n& una$le to $e ta'en ser#ousl! as art( It ma! st#ll $e someth#n& of "alue) #f we $el#e"e that wonder has an #nherent "alue 7as we must do as ma&#c#ans8) $ut #t w#ll $e #rrele"ant to art( he product#on of wonder #s no lon&er a concern( It #s a -uest#on of f#nd#n& out what does l#e at the heart of ma&#c that #s rele"ant to what art is about today! 9or me) and the art#sts to whom 2 spea') one ma%or role of contemporar! art #s to ma'e the aud#ence lea"e the "#ew#n& and look differently at things! In other words) to challen&e percept#on and preconcept#on( h#s #s someth#n& wh#ch /uchamps read!mades) Ca&es T XX)= and ma&#c all ha"e #n common( It #s here) and not #n the concept of wonder) that we f#nd the potent#al for ma&#c to $e rele"ant to art( 5onder m#&ht $e the "eh#cle for that challen&e to thou&ht and percept#on) for #t #s the pecul#ar product of ma&#c) $ut #n #tself #s far from enou&h( It must therefore $e our tas' as ma&#cal art#sts to use our performances to challen&e the percept#ons of our aud#ences( h#s ma! $e "er! modest* a person) upon ha"#n& seen /uchamps 6ountain sees another ur#nal and perce#"es #t d#fferentl!) and a funct#on has $een ser"ed w#th that moment of cons#derat#on(
S#m#larl!) a person loo's d#fferentl! at an ord#nar! teaspoon after w#tness#n& a spoon-$end#n& effect) wh#ch left h#m thou&htful and a l#ttle less sure of h#s wa! of see#n& th#n&s( +ow do we ensure th#s@ 9#rstl!) #t #s #n the nature of &enu#ne art that one does not wor' to a formula* #nstead) that each p#ece #s created from scratch( So an! #deas ha"e here are merel! part of m! set of preferences for ach#e"#n& th#s worthwh#le &oal( fl! concentrat#n& upon th#s capac#t! of ma&#c to &#"e our aud#ences a more cons#dered "#ew of the nature of percept#on) and to ma'e them wonder a l#ttle more at themsel es and the world rather
than merel! to pro"#de them w#th that emot#on as a d#rect#onless state) we &#"e our ma&#c a mean#n& and an a#m( h#s #s a mean#n& #nherent #n ma&#c and therefore #f art #s $orne from th#s) #t #s the art of ma&#c #tself( lam not concerned here w#th the use of ma&#c as a theatr#cal "eh#cle for a separate "#s#on( A "er! talented and respected ma&#c#an) whom I 'now well) sta&ed recentl! a p#ece of theatre wh#ch e.plored #ssues close to h#m) and he used ma&#c as a presentat#onal de"#ce to do so( 5h#lst the result was w#thout dou$t a p#ece of art) the art was that of the theatre) and not that of ma&#c( +e m#&ht %ust as well ha"e chosen m#me or dance to e.plore the theme of the drama* #t was theatre f#rst) and the ma&#c was su$ord#nated to that f#rst a#m( I concern m!self here onl! w#th whether ma&#cal performance can #n and of #tself $e art( Penn and eller e.plore throu&h the#r ma&#c an a&enda of roc'nroll scept#c#sm towards newa&e#sm) and #n do#n& so also man#fest a "#s#on w#der than ma&#c #tself( he#r theatr#cal#t! also lends #tself to somet#mes su$ord#nat#n& the ma&#c to dramat#c s#tuat#on) $ut #t #s an o"erarch#n& "#s#on for ma&#c) wh#ch &o"erns the#r performance #n m! e!es( And th#s art#st#call! rele"ant messa&e to cons#der !ourself and the world more carefull! #s close $eh#nd the de$un'#n& pro&ram( I th#n' #t a$solutel! necessar! #f ma&#c #s to stand as art that #t pro"o'e the aud#ence mem$er to cons#der some th#n&s d#fferentl! after the performance( hat ma! cons#st of h#m see#n& potent#al #n e"er!da! th#n&s) or e"en to de"elop an awareness of aspects of h#s own perceptual apparatus and ps!cholo&#cal ma'e-up( If #t does not ma'e h#m feel a l#ttle d#fferentl! a$out someth#n& after the performance) then I cannot #ma&#ne #t #s do#n& the %o$ that art should( It #s for th#s reason that #f I am to perform an effect w#th a "er! ord#nar! o$%ect such as a co#n) that I do not #ndul&e #n us#n& that co#n as a metaphor#cal de"#ce) caus#n& #t to "an#sh and reappear wh#le I tell an #nflated stor! a$out $#rth) l#fe) death and re$#rth( Such presentat#onal frames are) as 2 ha"e sa#d) r#d#culousl! out to proport#on to the effect and render the performance pretent#ous and the props e"en more o$"#ousl! ord#nar!( he spectator would not wal' awa! and see wondrous potent#al #n a co#n or -uest#on h#s percept#on of #t) rather he would lea"e feel#n& oddl! patron#sed( Instead) #f I were to use such a commonplace o$%ect) I would more often $e&#n $! plac#n& #t r#&ht $efore them and &#"#n& #t space((( as #f #t were some rare tal#sman( I would pro"o'e #nterest #n #t wh#le not pretend#n& #t #s an!th#n& more than a common co#n( :et I would act as #f #t were "er! #mportant( If #t then "an#shed of #ts own accord as I p#c'ed #t up) and reappeared) sa!) $ac' on the ta$le) we now ha"e a s#tuat#on where an ord#nar! o$%ect has $ecome fasc#nat#n&( hen I lea"e and one da! the! s#t w#th a co#n of the#rs and loo' at #t d#fferentl!) turn#n& #t o"er #n the#r own hands and wonder#n& what the! saw( I ha"e) hopefull!) made someth#n& #nterest#n& out of noth#n&((( and th#s #s a &ood start#n&-po#nt for creat#n& a p#ece of art(
Be!ond th#s cons#derat#on) the #nd#"#dual performer w#ll ha"e h#s own "#s#on) and #n the wa! of all art#sts) 7to paraphrase /al#8 each w#ll f#nd the personal -uest of the other #ncomplete or daft( But where ma&#c st#mulates thou&ht #t pro"o'es #ntell#&entl!) and can $e &enu#nel! challen&#n&( It #s #n that d#rect#on that we must push oursel"es) e"en #f on<! a l#ttle) for the creat#on of wonder or sent#ment alone #s no lon&er enou&h( Now) #t ma! not $e the preference of the performer to pro"o'e pro&ress#"e thou&ht on the part of the aud#ence mem$er( A ma&#c#an m! $e ent#rel! concerned w#th the transm#ss#on of wonder or fun and ensur#n& #ts success as ele&antl! as poss#$le( hese are no$le a#ms and I ha"e no -uarrel w#th them( M! onl! #ssue here #s the#r se"ere l#m#tat#on as rele"ant art #ssues( S#m#larl!) #t ma! $e the #ntent#on of the performer to pro"o'e such thou&ht and challen&e #n that wa!) $ut he ma! fa#l( I-fe ma! ha"e e"er! art#st#c #ntent#on) $ut lac' the perform#n& s'#lls to pull #t off( h#s #s s#mpl! $ad art) the e-u#"alent of those dreadful p#ctures of weep#n& clowns and
h!drocephal#c) $u$$le-$low#n& ch#ldren( Bad art #s st#ll art) howe"er much we cr#n&e at #t( Poor e.ecut#on #s unfortunate $ut does not s#mpl! d#s-ual#f! the p#ece( So far) th#s $oo' has $een concerned w#th m! "#s#on of how to do the %o$ well) and how to ma'e sure that the performance #s con&ruent and con"#nc#n&( Sharpe sa!s) #n 5ood Aon1uring:
6It #s $! attent#on to deta#ls that 9#ne Art #s produced( ;ou&h or clums! wor' clashes w#th that terms et!molo&!) wh#ch #mpl#es &raceful) deH#cale and pa#nsta'#n&f#n#sh)=
2 would -ual#f! the use of the words ,&racefut and del#cate( 2 do $el#e"e that art#st#c wor' should $e deepl! ele&ant) $ut th#s #s an ele&ance wh#ch resonates at a more profound le"el than the surface presentat#on( A clowns wor' ma! $e art) $ut #t ma! appear com#call! clums! and #nept( +owe"er) that apparent clums#ness w#ll $e the accuratel! en&#neered result of ele&ant cons#derat#on and the deft appl#cat#on of s'#ll( he &race and del#cac! of wh#ch Sharpe spea's are too close to h#s #deas of the Profoum# St!le) wh#ch he sees as necessar! for the product#on of 9#ne Art( hose -ual#t#es as prere-u#s#tes of artwor's are a l#ttle old-fash#oned now #n an a&e where someth#n& as &raceless and #ndel#cate as la"ator#al apparatus can count as art( Cons#derat#on of these po#nts leads me to the conclus#on that the performer #s $est recommended not to tr! and produce art) $ut to str#"e #nstead to produce or#&#nal wor' wh#ch challen&es an aud#ence and pro"o'es thou&ht and a sh#ft #n percept#on( S#m#larl!) he #s recommended to f#nd h#s personal "#s#on and see' to clar#f! #t #n h#s wor'( In man! wa!s) the process of perform#n& $ecomes a wa! for h#m to $ecome more ac-ua#nted w#th that "#s#on h#mself* that #s) the mot#"at#on for performance can $e pr#mar#l! to understand $etter what he w#shes to e.press( If these are h#s ma%or concerns) and #f he pa!s attent#on to the le"el of deta#l) appl#cat#on of s'#ll) depth of thou&ht and ele&ance of e.ecut#on) and #f he ne"er Coses s#&ht of the fact that h#s wor' has #ts "er! e.#stence #n that d!nam#c "#s#on) then he ma! $e ele"at#n& the craft of ma&#c to an art all that one could as'(
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It ma! $e that m! approach to art sounds harsh( It ma! $e that !ou would want the wealth of nauseat#n& new-a&e presentat#ons of ma&#c 7wh#ch &enerall! show the art#st#c sens#$#l#t! of a s#.!ear old8 and the pretent#ousl! som$re and self-#ndul&ent close-np ,dramat#c presentat#ons to $oth -ual#f! as art( :ou ma! des#re th#s s#mpl! $ecause the! $rea' awa! from tr#"#aH#s#n& ma&#c( hat ma! $e true) $ut the! can also $e deepl! #nsult#n& $oth to an aud#ence and to ma&#c #n -u#te another wa!( 3soter#a should not $e m#sta'en for profund#t!( he true wor' of art w#ll re"eal #deas) not re"el #n them( I hope that m! thou&hts on the su$%ect pro"#de a new wa! of cons#der#n& the -uest#on of ma&#c and art( I $el#e"e #t to $e the case that we now ha"e to loo' not so much at what ma&#c or art #s) $ut what #t does! Once we #dent#f! what ma&#c should do to render #t as worthwh#le ar#d worth! of attent#on as poss#$le) then we must set a$out ma'#n& #t do that accord#n& to our personal "#s#on of performance( I do not m#nd whether or not what a ma&#c#an does #s art) and I should not concern m!self too much w#th tr!#n& to produce #t( I can onl! follow and de"elop m! own pass#ons and set a$out transm#tt#n& a "#s#on to m! aud#ence #n a wa! that #s personal to me and wh#ch) w#th the st#n& of clar#t!) m#&ht challen&e them to th#n' d#fferentl!( I m#n#m#se an! consc#ous $orrow#n& from other performers $ut am aware of #nfluences wh#ch support m! wor') and I see' to remo"e messa&es from m! performance that o$fuscate the real mean#n& I would transm#t( I can onl! do m! "er! $est to $e true to that a#m) and str#"e to #mpro"e and $etter understand what I w#sh to sa! w#th what I do( And at moments alon& that l#ne) I &et close to how I feel #t should $e) and theres noth#n& I 'now l#'e #t on earth(
Ac'nowled&ements
:y gratitude to the following, who cannot go unthanked: Teller! O"erarch#n& ac'nowled&ement to the deepl! charm#n& and &rac#ous man whose pr#"ate wr#t#n& on ma&#c and theatre pro"#ded the $as#s of much of th#s $oo'( )ndrew <Aonnor! 9or launch#n& m! career and teach#n& me so much a$out pac#n&) tell! ar#d m! own worthlessness( I wondered #f m! mother had than'ed !ou enou&h) $ut #f not) cons#der #t done( )nthony <wen, A charm#n&) pat#ent and utterl! del#&htful producer and fr#end) who puts up w#th not onl! m! #mpersonat#ons of h#m $ut e"er!one elses wh#ch I encoura&e( B#& lo"e( Peter Al ;ord! 9or lett#n& me $end h#s fa"our#te ta$le-le&) for $e#n& one of m! $eseest fr#ends) for our lon& d#scuss#ons on performance and h#s t#me proof-read#n&( Narny %an Sw#ss( 9or #nter"en#n& when there was unrest) and for h#s t#me and #nterest #n the pro%ect( 5uy /ohhingworth! 9or our late-n#&ht d#scuss#ons and !our own part#cular "#ew of ma&#c wh#ch 'eeps arls! t!pes l#'e me #n chec'( )ndy Ey'nan! M! r#&ht hand &u!( An e.haust#n& and $r#ll#ant man) and I th#n' the $est /ad I"e e"er seen( 0L1 Iichard :cDougall! han' !ou for !our wor' and "#s#on 2 am #nde$ted( /ont e"er tell an!one(
4
Ahristian Iutherford! han' !ou for our d#scuss#ons !ou are a "er! del#&htful fr#end to ha"e(
4
Nerry !4adowit-! han' !ou for !our fa#th and &eneros#t! that has led to what I would ne"er ha"e dreamed of( Id st#ll $e s-ueeA#n& past wa#ters #f #t wasnt for !ou( I am "er!) "er! &rateful for all !our support and $el#ef from the start( Iichard /atch and Aharlie Iandall! 9or pr#nt#n& thousands) perhaps $#ll#ons of these and sell#n& them to e"er!one( :r! Aoops, 9or $e#n& an e.cellent) pat#ent and consc#ent#ous road#e) a charm#n& car compan#on) and for $e#n& n#ce a$out h#s mus#c( Nc,!uiukan 5oodwin! han's for our chats wh#ch led to all sorts of #deas wh#ch I later cla#med as m! own( :ichael $ine! M! mana&er( 3.traord#nar!( 9or those who 'now h#m) no e.planat#on #s necessar!( 9or those who do not 'now h#m) no e.planat#on #s poss#$le( :r! 6igaro Polly Parrot! 9or $e#n& such a &ood $o!(
? guineas for X0 specially marked cards! % ha e no doubt he would ha e been prepared to spend much more 1br any of the
JFack in the (OOHs NE :askelyne paid AhaPier mindreading secrets on this tape! % cant belie e hes &#"#n& this material Nuent#n ;e!nolds) Ps!ch#c 3nterta#ners Assoc#at#on
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223456& its
terrift!
J) consummate card technician who is also a master of misdirection0 the results are supremely elegant and well*nigh flawless! ;hat you will see is the result o1a highly organic process, where a unique magical maestTo has somehow imprinted his own personality onto fifty*two pieces of card, and made them dance to the melody in his mind! Thank the #ord for ideo, or we might ha e no record of what Derren did when he was still +1ust a magician! lan Carpenter for :agicweek
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0 hr TL m#nute tape #nclud#n& ln isible Deal, cele$rated $! Barr! ;#chardson as , he Best Card r#c' of the :ear( and 4moke, descr#$ed $! <am! Ian Sw#ss as poss#$l(! ,the future of ma&#c 7Nuotes from Gen## Ma&aA#ne8(