Академический Документы
Профессиональный Документы
Культура Документы
It’s difficult to express the depth of my appreciation for your decision to invest (your
time and money – both are precious commodities) in this lecture.
In the following pages you’ll find the exact outline that Dan and I used during the
filming. It’s not the most attractive document and many of the topics are simply listed
as bullet points but if you’d like additional information regarding these topics don’t
hesitate to post your question(s) on the private forum linked to this lecture (you can
find it under the “Discuss” button right next to where you accessed the video content).
Being caught up in the excitement of filming caused me to forget some of the concepts
I intended to speak about. There were also a few times during the lecture where I said
that I’d discuss something and then never came back around to it – MY APOLOGIES!
I’d like to rectify both oversights now.
To be honest, this has only happened ONCE to me over the last several years of
performances. A woman was selected at random by the toss of the paper ball and I
VERY QUICKLY recognized her genuine reservations about joining me on stage.
Instead of strong-arming her to participate I simply requested that she give the ball
one final toss to select another person at random and I moved on. There’s always a
slight concern that by complying with someone’s request NOT to participate you
might inadvertently encourage others to do the same, but I feel like the alternative is
even less favorable. If you pressure someone like that to get actively involved their
nerves could cause them to behave anywhere from completely non-responsive to all-
out combative.
I feel the best way to handle this situation follows the old adage “an ounce of
prevention is worth a pound of cure.” You should do everything possible to make sure
that people recognize the stage as a “safe zone.” Treat participates with the UPMOST
respect and let your interactions with people early in the show telegraph the great
time others will have with you as the performance continues.
This topic is addressed during the recorded Skype call with Marc Paul so I encourage
you to review over that conversation for the details.
During my discussion with Dan I neglected to read the following passage from Magic
and Showmanship, A Handbook for Conjurers by Henning Nelms (pg. 130). In my
eyes the insight Nelms provides is PARAMOUNT to a strong (and entertaining)
performance of mentalism.
Think of a RANDOM PIN (This is the prompt that cements the dual-reality)
Think of your current address
Think of 4 digits from your SSN in REVERSE
Think of 4 digits from your debit card
Think of your mom’s date of birth
Think of your real PIN but in REVERSE
Think of 4 digits from your phone number
Think of an OLD address
Think of a PIN you used in the past
Think of your date of birth but in REVERSE
Think of your date of birth
Think of 4 digits from your SSN
Think of 4 digits from a friend’s phone number
Think of your dad’s date of birth
Think of your real PIN but MIX UP the digits
Think of a special year from your past
Penguin LIVE
Act
Recorded on March 20th, 2019
Remaining Transparent in the Art of Deception
Within the “business of magic” the use of deception should be strictly confined to our
performances, and even then, it acts merely as a vehicle for entertainment – in ALL
other areas we should be completely honest and transparent.
Sadly, it’s not uncommon to see deception used AGAINST other members of the magic
community. This happens in many ways… misleading ad-copy; magic sellers who
happily take pre orders but fail to deliver the product; performers who embellish how
often they work and how much they earn from that work.
That last deception may seem innocuous and superficial but it makes it challenging
for new magicians to discern who is worth listening to among the chorus of self-
proclaimed “experts” and “professionals.”
So, for the sake of full transparency, here’s what you should know about my
experience as a performer. I’m clarifying these points in an effort to help you
understand my perspectives and how (or why) they may differ from yours:
1. I’m a “Part-time Professional” so I fully admit that I’m not the most show-biz
savvy individual to ever grace this studio. That said, there are many “Full-time
Professionals” out there who barely make ends meet so “time in the trenches”
doesn’t always equate to financial success as a performer.
2. On average I’m booked for 35 shows a year. The VAST majority of those
performances are for corporate clients who hire me as after-dinner
entertainment. My mantra is, “Work less for more,” so in building my
entertainment business my focus has been on increasing my fee and being
more selective in the work I take to maintain the work/life balance I seek.
8. This is the first time I’ve ever lectured… so I’m likely going to ramble
incoherently from time to time as I struggle to put into words concepts that,
up to this point, have really only existed in my mind.
I want to provide you with the best content I'm capable of and for that reason I've
made the decision to demonstrate the act I CURRENTLY use. As a purchaser of this
lecture you're welcome to use the concepts, methods, and even isolated routines in
your live performances but I request that you refrain from performing the act in its
entirety. If you'd like to use these routines on television or the internet, I'd appreciate
that you contact me first – I'm a nice guy, I'm sure we can work something out. I've
worked REALLY hard on this over the years so hopefully you can appreciate my
reservations in sharing my working material. I'm not here to create competition or
cannibalize my act – I’m here to encourage the magic community to move beyond
"tricks" and focus on what's important, spreading wonder and entertaining our
audiences.
Portability
Everything (including the table and easel) should fit in one carry-on.
Variety
Reliable Methods
I’m paid to deliver. While I’m happy to take risks to enhance a routine, I always
want a dependable method its core.
A, B, Z’s of Magic, Astonishing Essays No. 2 by Rob Zabrecky and Vanishing, Inc.
Act Two, Curtain Call, & Theater of the Mind by Barrie Richardson
Ask Paul Podcast by Paul Brook
Bairn by Ken Dyne
Magic and Showmanship by Henning Nelms
Maximum Entertainment by Ken Weber
Mentalism Incorporated Vol. 1 & 2 by Chuck Hickok
Scripting Magic Vol. 1 & 2 by Pete McCabe
Strong Magic by Darwin Ortiz
The Bigger Fish Files by Peter Turner
What Lies Inside by Florian Severin and Vanishing, Inc.
Dai Vernon’s advice to, “Be natural and use your head,” is really a call to
behave CONSISTENTLY within the confines of your character so as not to
draw undue attention towards a secret action. Naturalness varies from
individual to individual - so it’s possible to appear inconsistent when your
normal naturalness contradicts your character’s naturalness.
The following information was obtained from the blog-post provided below.
I’ve added the examples of magicians who might fit within each archetype
(these are generalities – it’s not my intention to offend anyone!).
https://conorneill.com/2018/04/21/understanding-personality-the-12-
jungian-archetypes/
1. The Magician
• Motto: “I make things happen.”
• Core desire: understanding the fundamental laws of the universe
• Goal: to make dreams come true
• Greatest fear: unintended negative consequences
• Strategy: develop a vision and live by it
• Weakness: becoming manipulative
• Talent: finding win-win solutions
• The Magician is also known as: The visionary, catalyst, inventor,
charismatic leader, shaman, healer, medicine man
• Example(s): We all, inherently, play this part – but we should
strive to incorporate another archetype or two so as to have a
fleshed out and robust character.
2. The Innocent
• Motto: “Free to be you and me.”
• Core desire: to get to paradise
• Goal: to be happy
• Greatest fear: to be punished for doing something bad or wrong
• Strategy: to do things right
• Weakness: boring for all their naive innocence
• Talent: faith and optimism
• The Innocent is also known as: Utopian, traditionalist, naive, mystic,
saint, romantic, dreamer
• Example(s): Doug Henning, Uri Geller
3. The Everyman
• Motto: “All men and women are created equal.”
• Core Desire: connecting with others
• Goal: to belong
• Greatest fear: to be left out or to stand out from the crowd
• Strategy: develop ordinary solid virtues, be down to earth, the
common touch
• Weakness: losing one’s own self in an effort to blend in or for the sake
of superficial relationships
• Talent: realism, empathy, lack of pretense
• The Everyman is also known as: The good old boy, regular guy/girl,
the person next door, the realist, the working stiff, the solid citizen, the
good neighbor, the silent majority
• Example(s): Lance Burton, Dynamo, Richard Osterlind
4. The Hero
• Motto: “Where there’s a will, there’s a way.”
• Core desire: to prove one’s worth through courageous acts
• Goal: expert mastery in a way that improves the world
• Greatest fear: weakness, vulnerability, being a “chicken”
• Strategy: to be as strong and competent as possible
• Weakness: arrogance, always needing another battle to fight
• Talent: competence and courage
• The Hero is also known as: The warrior, crusader, rescuer, superhero,
the soldier, dragon slayer, the winner and the team player
• Example(s): Houdini
5. The Caregiver
• Motto: “Love your neighbor as yourself.”
• Core desire: to protect and care for others
• Goal: to help others
• Greatest fear: selfishness and ingratitude
• Strategy: doing things for others
• Weakness: martyrdom and being exploited
• Talent: compassion, generosity
• The Caregiver is also known as: The saint, altruist, parent, helper,
supporter
• Example(s): Richard Webster
6. The Explorer
• Motto: “Don’t fence me in!”
• Core desire: the freedom to find out who you are through exploring
the world
• Goal: to experience a better, more authentic, more fulfilling life
• Biggest fear: getting trapped, conformity, and inner emptiness
• Strategy: journey, seeking out and experiencing new things, escape
from boredom
• Weakness: aimless wandering, becoming a misfit
• Talent: autonomy, ambition, being true to one’s soul
• The Explorer is also known as: The seeker, iconoclast, wanderer,
individualist, pilgrim
• Example(s): Peter Turner, DMC, David Blaine
7. The Rebel
• Motto: “Rules are made to be broken.”
• Core desire: revenge or revolution
• Goal: to overturn what isn’t working
• Greatest fear: to be powerless or ineffectual
• Strategy: disrupt, destroy, or shock
• Weakness: crossing over to the dark side, crime
• Talent: outrageousness, radical freedom
• The Rebel is also known as: The re bel, revolutionary, wild man, the
misfit, or iconoclast
• Example(s): Criss Angel, Penn & Teller
8. The Lover
• Motto: “You’re the only one.”
• Core desire: intimacy and experience
• Goal: being in a relationship with the people, work and surroundings
they love
• Greatest fear: being alone, a wallflower, unwanted, unloved
• Strategy: to become more and more physically and emotionally
attractive
• Weakness: outward-directed desire to please others at risk of losing
own identity
• Talent: passion, gratitude, appreciation, and commitment
• The Lover is also known as: The partner, friend, intimate, enthusiast,
sensualist, spouse, team-builder
• Example(s): David Copperfield, Luca Volpe
9. The Creator/Artist
• Motto: “If you can imagine it, it can be done.”
• Core desire: to create things of enduring value
• Goal: to realize a vision
• Greatest fear: mediocre vision or execution
• Strategy: develop artistic control and skill
• Weakness: perfectionism, bad solutions
• Talent: creativity and imagination
• The Creator is also known as: The artist, inventor, innovator,
musician, writer or dreamer
• Example(s): Tommy Wonder, Robert Houdin
Discussion on Themes
“Most tricks have the same theme: ‘The performer does something that seems
impossible.’ The nature of the impossibility is of secondary importance. What
really counts in the lack of rational explanation. This theme supplies interest but
cannot make it rise very high, nor can such a theme sustain interest for more
than a few minutes at most… Furthermore, if any interest remains after the
climax, it concerns only the method used. The phenomenon itself is dismissed at
once.
The situation in an illusion is entirely different. The theme involves freak-
show secrets, telepathy, or astrology—something that is interesting in its own
right. This interest is aroused immediately and can be sustained indefinitely if
properly handled. It does not depend on the climax, except that a weak climax
would be disappointing…
Every conjuring theme has four elements:
Who is involved? The PERSONALITIES
What is being exhibited? The PHENOMENON
Why is the routine performed? The PURPOSE
How is the Purpose achieved? The PROOF”
(Magic and Showmanship, A Handbook for Conjurers by Henning Nelms, pg.
36-37)
Alice: Would you tell me, please, which way I ought to go from here?
The Cheshire Cat: That depends a good deal on where you want to get to.
Alice: I don't much care where.
The Cheshire Cat: Then it doesn't much matter which way you go.
Alice: ...So long as I get somewhere.
The Cheshire Cat: Oh, you're sure to do that, if only you walk long enough.
Solo-fab
1) A STUNNING CLIMAX
2) An empty stage besides me ready to take a bow
3) Tying up the loose ends in a satisfying (but hopefully
surprising) manner
4) My preferred structure is to bring the show full-circle
KISSing PINs
Walk-through of routine
Establishing “powers”
Credibility
Silent Script
“Core”: Omni-test
Walk-through of routine
Layering/Cancelling Methods
The flashback principle cancels the force of “exercise”. The
MOABT cancels the force of “chug.”
Consistency in “powers”
Omni-test CREDITS
“AAA Book Test” from March Paul LIVE (Penguin LIVE) by Marc Paul
and Penguin Magic
Glance by Steve Thompson
“Invisible Book Test” from The Vault: Gerard on Hoy by Andrew Gerard
Making Mind Reading Look Real by Luke Jermay
“Psychol” from Secret Manuscript One by Jose Prager
“The Bold Book Test” from The Bold and Subtle Miracles of Dr. Faust by
David Hoy
The Impromptu Book Test (IBT) by Josh Zandman
The Lost Luggage Book Test by Matt Packard
Callbacks
Walk-through of routine
Theatrical Device: Conflict through financial risk
“In most magic…the plot is, ‘I wish for something. I get it. And it’s
what I want.’
The ‘cause’ in this case is the ‘magician’s will.’ He wills it; it comes
true.
This is not a drama about a human being. It is the depiction of a
god, generally a capricious and trivial one. And it’s just as dull as the
biography of any omnipotent being would be. It contains not a
smidgen of genuine conflict. And without this conflict, the magician in
a position of a god-like power at all times has not a flicker of
humanity.” (Absolute Magic by Derren Brown, taken from a
conversation with Teller, pg. 21)
Win-Win Situations
Walk-through of routine
Choose Your Words Carefully – Google knows all
Walk-through of routine
Finding Efficiencies
Since I’m already swapping OUT the name card for the peek why
not swap IN information that can be used during a subsequent
part of the show?
“Dirty Secret Club” from Premise & Premonition & Distractions by Luke
Jermay
“Double Drawing” from Jermay’s Mind by Luke Jermay
“The Double Blind-Drawing Duplication PLUS” from Marc Paul LIVE
(Penguin LIVE) by Marc Paul and Penguin Magic
“The Sixth Sense Ploy” from Hybrid Mentalism by Alexander Marsh
Plan Transitions
Interactive bits with the entire audience: Bob Cassidy’s “Macro Effect”;
Magnetic Fingers; the Hand Scam; Derren Brown using “Hole
Tempting” as a running gag from “Something Wicked This Way Comes.”
This relates right back to the idea of having a “spine” for the show
Building Techniques
“We build interest by adding more: more movement, more color, more
sound, more light, more people, more intensity, more concentration, more
excitement. In short, anything that the spectators regard as increasing
will also increase their interest…
Increase the intensity of your own interest. Concentrate more and
more on the source of information…
Let your movements become broader, quicker, more abrupt, and more
varied. As the climax nears, introduce sudden shifts in technique. A shift
is stronger than an increase.” (Magic and Showmanship, A Handbook for
Conjurers by Henning Nelms, pg. 239 and 241)
You can also “build” simply through telling the audience that what you
are attempting is progressively more difficult (even if that isn’t the
reality). The PERCEPTION of increasing the challenge is what matters.
Murphy’s Law
KISSing PINs: Pull a different person up if the first person goes rogue
Obviously Influenced: Michael Murray’s “Tombola Principle” if the
force person disappears at the beginning of the show
Omni-test: Multiple eyes on the thought-of words to avoid them being
forgotten and to lessen the likelihood of a “challenger”
Solo-fab: If the birthday isn’t provided just accept the miss and move
on
1) Peace of mind
2) Clarity of progression
3) Effective Instructions
4) Freedom to improvise
If you can’t arrange a video recording simply open the voice memo app
on your phone and stick it in your pocket. You can still learn A LOT from
an audio recording of your show
Be present
Book Recommendations
1) Quitter: Closing the Gap Between Your Day Job and Your Dream Job by John
Acuff
2) Going Pro by Andi Gladwin
1) You can cherry pick the gigs you want – YOU HAVE THE FREEDOM TO SAY NO
2) You have multiple streams of income
3) You can maintain the work/life balance you want in terms of travel and time
away from family
4) A day job can provide you with transferrable skills
5) Employer sponsored benefits (health insurance, 401K, life insurance, etc.)
Upselling
1) Add-on services
2) Finale options
3) Customization