Absolute Magic A Model for Powerful Powerful Close-Up Performance Performance
Derren Brown MAGIC BOOKS
Author’s 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& 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' $oo' #s not des#&ned des#&ned to $e purel! purel! a$out such th#n& th#n&s( s( M#nd M#nd read#n read#n&) &) for me) #s #mmen #mmensel sel! ! 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 so me new tr#c's) then a&a#n he has $een m#s&u#ded #n h#s e.pectat#ons) for I don’t 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( performer( /erren Brown Havana
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Absolute Magic A Model for Powerful Powerful Close-Up Performance Performance
Derren Brown MAGIC BOOKS
Author’s 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& 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' $oo' #s not des#&ned des#&ned to $e purel! purel! a$out such th#n& th#n&s( s( M#nd M#nd read#n read#n&) &) for me) #s #mmen #mmensel sel! ! 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 so me new tr#c's) then a&a#n he has $een m#s&u#ded #n h#s e.pectat#ons) for I don’t 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( performer( /erren Brown Havana
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Br#ef Notes on the Second 3d#t#on December 0110
I was tempted) as w#th Pure Effect, to remo"e a couple of chapters from th#s pr#nt#n& %ust to cause the same '#nd of fiirore, But I d#dn’t( I feel #t worth clar#f!#n& that s#nce wr#t#n& th#s $oo') m! mo"e #nto perform#n& onl! ,ps!cholo&#cal #llus# #llus#ons ons’’ has seemed seemed to me to $e a pro&re pro&ress# ss#on on 4 pro$a$l! #n part m! wa! of resol"#n& the frustrat#ons I felt w#th ma&#c) wh#ch come throu&h #n these pa&es( Of course &#"en the nature of m! tele"#s#on wor' #t would ha"e $een #ncon&ruous and confus#n& to cont#nue to #nclude con%ur#n& #n m! reperto#re( I should add that I ha"e ne"er for a moment m#ssed #t( +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 the char charac acte terr of Gu! +oll#n&w +oll#n&wort orth( h( 5hen 5hen th#s th#s was $rou&ht $rou&ht to m! attent attent#on #on I real# real#sed sed m! comments had certa#nl! $een m#s%ud&ed( I’d l#'e to state pu$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 "ul&ar)) flatul flatulent ent ra&amu ra&amuff ff#n #n that that I occas# occas#ona onall! ll! and #ron#c #ron#call all! ! portra portra! ! h#m as here) here) +e #s a &entleman and a fr#end) and apart what seems to me to $e a d#sappo#nt#n& taste #n mus#c there’s noth#n& I can sa! a&a#nst h#m( Apolo&#es for an! em$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#tten’s 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 $e ta'en to mean the oppos#te of what I #ntended( #ntended( I wrote wrote that he had emplo!ed the techn#ue techn#ue ,dou$tless ,dou$tless unawares)’ unawares)’ mean#n& onl! unconscious unconsciously: ly: I want wanted ed to cred cred#t #t h#s superlat#" superlat#"e e #ntu#t#o #ntu#t#on n as a performer performer #n a$sor$#n& a$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 $oo' #s splend#d(
h#s h#s book is dedicated to my friend Teller, whose eloquent and erudite ctrri’spondctwe gae shape shape to my unders understan tandin ding g of the the relati relations onship hip betwee between n magic magic and theatr theatre! e! "think "think no one understands understands that dynaink dynaink more than he, nor creates magic as artistically resonant! resonant! This book
has its genesis in his thoughts!
9or :our ;ead#n& Pleasure Preface Ha"#n& emer&ed) d#s#llus#oned and "#s#$l! upset from the &ruell#n&) unhapp! per#od of m! l#fe that const#tuted wr#t#n& Pure Effect, alread! descr#$ed $! the #ondon Eening $agina as ,th#s sweat! mouth-load of fa&&! arse-&a&((’ I am pleased to announce to !ou) the an&r! reader) that !ou hold once a&a#n #n !our hands or feet a collect#on of m! personal cho#ce of words) chosen 2mm m! $ra#n and m#nd) $lo$$ed toðer #nto sentence-ch#ldren and allowed to pla! "#olentl! w#th each other to form a '#nd of enormous word-#dea) wrapped around cut-up paper and we#&h#n& a$out the same as a fat hamster( Madonna) surel! the world’s $est female performer after
Part One: Aims and Priorities %n most magic, its frr as& can see, the plot %'! ( wish for something! %get it! )nd what % want "though many right*thinking persons might well ask +t$mateurlhy use does that tuucous gee-erhanefora doe&’.’
he cause’ in this case is the mnagician’s 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 triial 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 i’m 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!
Teller - from our con"ersat#ons) 9e$ 0111
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 eening together! ( think it not unreasonable to e!q’ect that we couid en1oy our meal and each other’s company without an arse in a bad tu7edo asking if we know that black cards are heaier than red cards! They are stat, and een 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 hae learnt a marellous sensitiity to their patrons, who are deft and subtle, charming and professiona# 9ou make my wife and me want to leae! )nd for the loe of 5od why do you humiliate yourself like this. 4o that we can watch you make coins moe from hand to hand, and listen to you talk rubbish. )nd get that fricki rig mouse*mat off our table! /ae 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& pules to sol"e) $ut "er! l#ttle ma&#c er! 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 and 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 euat#on) what rema#ns@ I $ el#e"e the $ul' of the performance should rema#n( h#s #s the area where the art#st’s "#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#an’s 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#ence’s 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 hero’s 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 cadena 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 seuence #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! Norma’s 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#ldren’s 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#an’s 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#st’s "#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 $#arr#sts and self-st!led eccentr#c w#ards) 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 4 #t’s 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 4 ma'e #t e"en more appropr#ate to ta'e these performance #ssues ser#ousl!(
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 God’s $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?-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 one’s #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 4 crap)= was h#s answer) an elouent 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 t he $ar someone nonchalantl! sa!s) 6Go on then) show us a tr#c'(= he#r demeanour #s un#nterested) the en"#ronment #s loud and up$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( 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( ater) 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) $ut I would su&&est that the f#rst 'e! to powerful performance) and to creat#n& the e.per#ence of real ma&#c) #s prec#sel! that !ou ma'e !our &roup adapt to you. Now please don’t m#sunderstand th#s( :ou must de"elop the a$#l#t!) #f !ou don’t 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 #t’s #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# 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, its #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! $e told) the! are too often al#enat#n& and wear!#n& e.curs#ons #nto self-apotheos#s on the part of the performer( +owe"er) Mr( Ort# a$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# #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 $! the aud#ence #n a wa! that the! would f#nd d#ff#cult to parod!( And at th#s le"el) drama #s of fundamental #mportance( In h#s The ;ork
As lon& as we are creat#n& ma&#c and not opera) the #ssue rema#ns of how to susta#n th#s chthon#c dramat#c stratum correctl!) unpretent#ousl!) effect#"el!( In man! wa!s) that #s the su$%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' theatre’s $r#&htest per#od was #n the f#fth centur! BC) $ut Ar#stotle’s 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##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 4 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 4 that pecul#ar e.per#ence that #s part e.#stent#al $ut pr#mar#l! aesthet#c 4 precludes any appreciation of moral awareucss!
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 soD’cal2ed #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 $! what the! had w#tnessed 4 he had reduced the non- cere$ral e"ent of a pla! #nto a pac' olar&uments(= 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 man’s 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#an’s 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 4 such) as the correct part#c#pat#on of h#s small aud#ence 4 #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 reu#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( 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 # I# 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 couldn’t see an!(((= and so on( et’s 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 can’t really do that( he! 'now #t’s a tr#c') al$e#t a "er! &ood one) and #t doesn’t 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#an’s role e"er so sl#&htl! so that he #s no lon&er a &od $ut a hero( et us ma'e h#m an #ntr#&u#n& personal#t! who offers a connect#on to a secondar! world of wonder) wh#ch w#ll sh#ne throu&h momentar#l! #f c#rcumstances are arran&ed correctl! here #n the world wh#ch we e.per#ence( et us ma'e th#s tr#c' ha"e real mean#n& for the spectator) and let us &#"e them a l#ttle cathart#c %ourne! w#th #t that w#ll not re"ol"e around the mundane uest#on of ,+ow d#d he do that@’ I remem$er see#n& err! unceford 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 $! Mr( uncelord’s "#deo>
I s#t ne.t to a lad!) ha"#n& o$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!) ,Dl’d l#'e !ou to th#n' $ac' for me to that memor! 4 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(() that’s r#&ht) and add some s p a r ' 2 e ( ((that’s 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( 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#nd’s 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( 6No) don’t $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) that’s r#&ht 4 don’t $e d#stracted $! the r#n&) 'eep !our m#nd on the feel#n& 4 spread#n&) mo"#n&(((= As I descr#$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 surround that feel#n& tD circle the ring with 'ny fingers in a deceptie moe gien 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( remoe 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 $! wonder( Once after perform#n& th#s) a chap sa#d pr#"atel! to me that #t was ,the most lo"el! th#n& he had e"er seen(’ On other occas#ons) r#d#culous as #t ma! sound #n pr#nt) the rou t#ne has e"o'ed tears from the part#c#pant 4 happ! ones) I m#&ht add( 7On one occas#on where the lad! d#d not ha"e a r#n& and the performance was pr#"atel! #n m! own home) I had her secretl! wr#te down a word on a sl#p of paper) wh#ch would e"o'e a happ! memor! for her( he sl#p was placed #n m! hand) and the rout#ne was com$#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 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) Now) let us loo' at th#s t h#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 #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& ,oo' at me 4 I can do th#sl)’ and therefore not #n"#t#n& an! c!n#c#sm( Secondl!) 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 aud#ence #s e.per#enc#n e.per#enc#n& & the mo"ement of the r#n& as a metaphor metaphor)) and understand#n& understand#n& that( As the! ma'e the connect#on $etween the mo"ement of the feel#n& #n the $od! of the spectator and without haing haing it e7plained, the mo"ement of the r#n&) without e7plained, there #s a resonance felt( h#s #s u#te the oppos#te of the normal techn#ue of patron#s#n& the spectators w#th dreamt-up) crow$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! 4 hopefull!) hopefull!) l#'e our hero) w#th a new le"el of understand#n& and percept#on(
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 ar&uments nts lose the#r ar&ument are also also d#sapp d#sappear ears s and &ood ar&ume the#r thread thread(( 5hen emot#on and ar&ument harnessed to a w#sh from the aud#ence to see more clearl! #nto #tself4 #tself4 then someth#n& #n the m#nd m#nd $urns( $urns( he e"ent scorches scorches onto the memor! trace) a smel memor! an outl#ne) outl#ne) a taste) taste) a trace) smelll 4 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 $e the essence what #t has to sa!( 5hen !ears later I th#n' of a str#'#n& theatr#cal e.per#ence I f#nd a 'ernel en&ra"ed #n m! memor!* two tramps under a tree) an old woman dra&&#n& a cart) a ser&eant danc#n&) three people on a sofa #n hell 4 or occas#onall! a trace deeper than an! #ma&er!( I ha"en’t a hope of remem$er#n& from the the 'ern reconstruct ruct a set of mean#n&s the mean#n&s mean#n&s prec#sel! prec#sel!)) $ut from 'ernel el I can reconst mean#n&s(( hen 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(=
et us turn to how we m#&ht) #n our small wa!) ach#e"e #t(
Mean#n& and #s#on ;hat is the mug iced e7perience.
6Aston#shment #s not an emot#on 7hat’s created( It’s an e.#st#n& state that’s re"ealed(= 6he 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#ld’s 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 what’s left@ S#mpl! what was alwa!s there( :our natural state of m#nd( hat’s the moment of aston#shment(=
hose l#nes are ta'en from Paul +arr#s’ #ntroduct#on to h#s The )rt of )stonishment, )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 temp tempta tat# t#on on to theo theor# r#e e and and un#f un#f! ! a prac pract# t#ce ce that that #s #n #ts #ts natu nature re ent# ent#re rel! l! pra& pra&ma mat# t#c c and and One opportun#st#c( should certa#nl! ha"e a clear sense of what one w#shes to ach#e"e w#th one’s 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# ma&#c#an an #ns#st #ns#sts s on perfor perform#n m#n& & for a specta spectator tor and the the latte latterr rema#n rema#ns s anno!e anno!ed) d) then then that that spectator’s 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 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 3ach #s e.press#n& e.press#n& h#s "#s#on) "#s#on) and each #f he performs true true to h#s "#s#on) "#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#t #s dan&erous to #ns#st #ns#st that ma&#c has an! inherent ual#t#es( In understand#n& understand#n& th#s) the #ssue then $ecomes one of creat#n& an e.per#ence e.per#ence for the aud#ence( 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 around the place place where where !ou sat( sat( :ou would would mo"e mo"e pos#t pos#t#on #on to &a#n &a#n a more more compre comprehen hens#" s#"e 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) +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!) ser#ousl!) and that he #s $e#n& fooled for the purposes of h#s enterta#nment enterta#nment(( he common e.per#ences e.per#ences we ha"e of th#n&s seem#n&l! seem#n&l! d#sappear#n& d#sappear#n& and s#m#lar confus#ons are pro$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 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) $ut th#s #s %ust h#s cho#ce of shape) and #f he does not del#"er the &oods #n performance) then he #s delud#n& h#msel#m( Ma&#c) Ma&#c) therefo therefore) re) #s onl! onl! inhere inherentl ntly y a$out how the performer dec#des to frame #t( h#s #s a $eha"#oural #ssue re&ard#n& the performer) r#ot an #dent#t! #ssue re&ard#n& the mater#al( +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 4 for all the same reasons 4 unless !ou can effect#"el! commun#cate that fram#n& to !our aud#ence( If !ou don’t commun#cate #t) #t doesn’t e.#st) and you’re not doEng what !c># think you’re doing!
)scribing eaning in in the Place of Aon1iesion: Aon1iesion: Determining Determining the $ision! $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 pul#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! o wn 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( #&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 don’t 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(
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 4 and the one w#th wh#ch th#s $oo' deals 4 #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 don’t m#nd #f the! 'now #t’s 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 4 and to wal' awa! from the performance loo'#n& at the world w#th a w#der perspect#"e( In m! m#nd these th#n&s form a p#cture 4 a l#teral "#s#on 4 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( 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 one’s 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 one’s 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 4 what e7actly do % want my audience to feel has occurred, and 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 amaed and amused $! h#s s'#ll( h#s $r#n&s us $ac' to the analo&! of the "#ol#n cadena #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 eu#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 performer’s 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 4 and cont#nues to ref#ne h#s answers 4 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(
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 perspectie 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 4 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!( As I ha"e sa#d( I don’t $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 4 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(
Part Two: #on$lict and Practicalities
5#thhold#n& the Power I want !ou to remem$er th#s fundamental theatr#cal rue* esta$l#sh trul! and prec#sel! deta#ls that are t!p#cal and the aud#ence w#ll ha"e a sense of the whole) $ecause of the#r spec#al a$#l#t! to #ma&#ne and complete #n #ma&#nat#on what !ou ha"e su&&ested(= Stan#sla"s'#
Suggestion and Presence
%
remem$er fondl! as a ch#ld 4 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&( Nowada!s I don’t f#nd her part#cularl! scar!( As an adult) other th#n&s fr#&hten me( Sp#ders the s#e of m! $athroom suatt#n& #n the s#n') m! own mother’s se.ual ad"ances 4D 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 ecter( he more he w#thholds the prom#se of dan&er $eneath a charm#n& "eneer) the more we feel #t( Compare +ann#$al ecter w#th Chr#stopher 5al'en’s 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( 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 hae sensed it for themseles 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 sttements 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
NP 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#nder’s ,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( NP 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& NP 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 peoplhandl#n&’ $ecomes) #n Stephen 9r!’s memora$le words) +the art of the*set uckingobious*it*makes*your*nose*bleed!’ Spea'#n& as someone who has pract#sed) tra#ned) stud#ed and wor'ed w#th NP 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 NP8) 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 $ecome a &en#us #n a matter of m#nutes) #t’s not &o#n& to &o awa!( M! ma#n concern #s w#th creat#n& presence and mean#n& throu&h su$tlet! and #mpl#cat#on) rather than local#sed lan&ua&e tr#c's that ma! or ma! not enhance the spectator’s 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( Knepper’s techn#ues $r#ll#antl! at hand) I don’t feel that he w#ll succeed ma&#call! as much as a performer w#th #mmense char#sma eu#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! beliee #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 #sn’t there) I can’t 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( see 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 #t’s &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 needn’t 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 $rush m! palms toðer I could th#n') 6Cot r#d of that one n#cel!(= 9rom )cting is ot aking 9aces) he Boo's of 5onder ol( 2) p( 0FL
5e ha"e d#scussed a model of ma&#c where the ma&#c#an #s not u#te the omn#sc#ent f#&ure who can control the un#"erse wh#ms#ca#l! thou&h the cl#c' of h#s f#n&ers( Instead) he #s a more human &u#de to a realm of wonder that w#ll sh#ne throu&h) a l#ttle unpred#cta$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 4 #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( 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!*
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h#s demands !our und#"#ded attent#on( :ou w#ll treat m! performance w#th respect(
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h#s #s the real stuff( I’m not mess#n& a$out(
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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 reuest( 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!ant#um( If !ou don’t 'now me) m! name’s /erren Brown) and I’m((( 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(’ I’m 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 don’t 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 liing table*hopping! There i' no greater f
.#.s where one deelops material at an ' rate and has the time and space % hone
eerything tea fine point! %f you are beginning a career as a magician, go and get yourself such a residency
4
aside from
their instructional alue! you’ll gel >>G of your work through them once (Hu settle in the right sort of place!
them 7and no one’s &o#n& to refuse after all the hand-sha'#n& and so pol#te a reuest8) 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! $een sa#d #n a few moments) and #n a wa! that w#ll ha"e the spectators feel#n& what I would l#'e them to) and apparentl! of the#r own accord( h#s can onl! come from pract#s#n& e.treme self-awareness 4 l#terall! see#n& !ourself) #n !our m#nd) approach#n& a &roup and #ntroduc#n& !ourself( 5h#le #t ma! seem that I am ma'#n& a lot out of a "er! small po#nt) one onl! has to see how most ma&#c#ans al#enate the#r aud#ences from the open#n& moments to see how "#tal #t #s to &et th#s r#&ht( Now) don’t &et roe wron&) please don’t( If !ou f#nd !ourself &ett#n& me wron& for e"en a moment) stop #mmed#atel!( I am not su&&est#n& that the approach to a ta$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 moment’s 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 seuence) 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& seuence 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 eleated 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 4 presented w#th a ser#ous tone 4 $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( 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! $lended the two performance areas 4 #n the end #t #s all down to the performer( 3#ther he ma'es #t f#t and #s a$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 beliee 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! $e m#.ed and l#e con&ruentl! w#th each other) pro"#ded one #s #ntell#&ent enou&h to routine and perform them sens#t#"el!( ;emem$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 don’t 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 d’tre #n the world of wonder rather than pulement* 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( 7herefore a four-ace product#on to l#n#sh would not wor') whereas someth#n& "#sual and $#arre 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!one’s #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(
4uggestion and Aharacter At another le"el) there are "ar#ous techn#ues for commun#cat#n& throu&h su&&est#on the '#nd of presence and character that w#ll enhance the feel#n& of ma&#c $e#n& real( h#s #s an #mmensel! personal area) and I do not w#sh an!one to tr! to clone m! perform#n& character( +owe"er) I would ment#on one part#cu’arl! powerful tool) wh#ch #s the use of s#lence( h#s can $e used to unner"e an aud#ence 7I $e&#n m! sta&e and platform set $! %ust s#lentl! loo'#n& o"er the aud#ence8 or to con"e! the d#ff#cult! and #ntens#t! of one’s techn#ue 7throu&h e.tended moments of o$"#ous concentrat#on on !our part8 4 e#ther wa!) #t can create #mmense tens#on "er! plaus#$l!( A&a#n) th#s #s $ecause #t implies mean#n&) tens#on or presence) w#thout !ou ha"#n& to "er$al#se #t( It can ma'e !ou "er! fr#&hten#n& to an aud#ence $! #n"o'#n& mass#"e selfconsc#ousness on the#r part) to a de&ree that could not $e reached $! actiely tr!#n& to fr#&hten them( And the fear that results #s the r#&ht '#nd* the ch#ll that comes from unner"#n& theatre( A$o"e all) #t commun#cates "er! powerfull! a conf#dence on the part of the performer and allows h#m to hold a room on tenterhoo's throu&h presence alone( Of course) #t also lakes #mmense conf#dence on the part of that performer) and a complete comm#ttal on h#s part to the model of real ma&#c( In an! other s#tuat#on) where the ma&#c#an does not a#m for an! resonance) the ma&#c w#ll $e commun#cated at a shallow le"el* therefore) the s#lence w#ll $e perce#"ed as shallow and $e rendered as unnecessar#l! stow and $or#n&( If) howe"er) !ou are ma'#n& the aud#ence wor' #ma&#nat#"el!) then the! w#ll do the same w#th !our s#lence and f#nd #t "er! effect#"e( #f s#lence #s used at the start of a performance) then #t catches the aud#ence at a moment when the! w#ll alread! $e at the#r most #ma&#nat#"e and respons#"e) and w#ll &o "er! far to esta$l#sh#n& !our character as u#etl! #nt#m#dat#n& and powerful( h#s ma! not $e !our a#m) $ut to an e.tent I w#sh #t to $e part of m! character when perform#n& for lar&e &roups) $efore deflat#n& #n #t such a wa! that re-esta$l#shes rapport $ut lea"es a $ac'&round #ntens#t! l#n&er#n&( 9or the creat#on of the e.per#ence of real ma&#c) other than where the performer #s creat#n& the character of the #d#ot sa"ant or $um$l#n&) unw#ll#n& "essel for otherworldl! forces() esta$l#sh#n& a character w#th the potent#al to unner"e seems #mmensel! "alua$le( 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! $e#n&* there #s a calmness and a ma&net#sm to !ou that an!one remotel! sens#t#"e w#f# p#c' up on( hese are attract#"e and #mmensel! en&a&#n& ual#t#es( here #s noth#n& of the seu#nned enterta#ner a$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( ater 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 $e seen as a med#ocre tr#c' and ha"e #t pla! as profoundl! ma&#cal(
he /e"#l’s P#dure-$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 I’d 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 $! her happ! #&norance of what #s or #s not appropr#ate to the s#tuat#on at hand( In the w#ened f#l#&ree of her old) old m#nd) such th#n&s are all part of her da#l! tum$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 4 e#ther
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#dn’t 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 $e ruthless( et us cons#der a clear fact( If !ou were a$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 P7u’e 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 4 a$out the s#&nals the! &#"e off) how well the!
can l#e) or the #mpact of &eo&raph! #n the case of the telephone effect( Other than these effects) I 'eep m! card rout#nes "er! separate from m! math set( If I am to spend t#me perform#n& for a &roup) m! pr#or#t! #s to affect them deepl! w#th r#ch and plaus#$le ma&#c( Noth#n& a$out what I do for them w#ll al#enate them unless I choose to ma'e them feel "er! self-consc#ous for a moment( he s#&ht of cards #s not conduc#"e to ma&#c that cla#ms to transcend the ord#nar!( he stren&th of card effects l#es #n the#r ele&ance( lhen I perform m! card mater#al profess#onall!) #t #s usuall! at a champa&ne recept#on) where m! a#m #s to pro"#de a soph#st#cated focal po#nt to the m#n&l#n&( I set up m! ta$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! shouldn’t $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 pul#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 nt $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! one’s 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 summer’s 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 maruees) 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 don’t ha"e much se. tr!#n& to $e the ueen( I hae performed for +er Most o"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 ueen( One cannot sa! to her) 65ho do !ou th#n' !ou are)= $ecause she would $e a$le to repl!) 6he ueen(= here would $e noth#n& to sa! #n return, and one would pro$a$l! ha"e one’s 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.poss are a fond fa"our#te of he ueen 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 maruee 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#ner’s 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( ater) howe"er) I would as' a few to s#t w#th me, as the! do now) and I w#ll reuest 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 don’t 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!) $ut th#s #s the eu#"alent of ne"er surpass#n& pol#te m#n&l#n& o"er salmon and ca"#ar( So) con"ersel!) the answer #s to sh#ft #nto a more so$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 $and’s sound-chec' $efore d#nner 4 th#s #s a str#n& of cl#chs that ma'e these e"ents of a un#forml! and pred#cta$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( 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 one’s 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( hat’s $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 doesn’t alwa!s wor') and !ou can onl! e.pect to ach#e"e so much( At these e"ents) !ou w#ll hae 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! won’t 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 #t’s 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 #sn’t 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( hat’s st#ll $etter than most of them out there( It’s a $r#ef fr#"olous cadena a&a#n a&a#nst the solemn ada&#o of !our real wor' that &rows o"er the !ears( h#s certa#nl! ra#ses the #ssue of fle.#$#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( et 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 painter’s 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 one’s "#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(
/es#&n#n& w#th Cause Areating Effects according to the Ieal agic model
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 $efore !ou can sa!) 6/on’t patron#se us) !ou( un#ma&#nat#"e performer w#th no h#str#on#c sens#$#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 don’t $el#e"e h#m( 5h#ch #s f#ne) #f we don’t need to* if we ta'e the whole th#n& #n a ton&ue-#n- chee' wa!( er! 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 reu#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( 7I’m tr!#n& to stop sa!#n& ,resonant’ now so I hope !ou’re comforta$le w#th ,re"er$erat#n&(’8 All the aud#ence w#ll 'now #s that someth#n& the! saw d#dn’t happen) $ecause ma&#c #sn’t real) If the ma&#c#an #sn’t 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 $ecomes perce#"ed as s'#lful tr#c'er!( he response to th#s sort of effect #s) 65owD :ou’re "er! cle"er( I don’t suppose !ou can tell us how !ou d#d #t(= I feel someth#n& d#e #ns#de me when I hear the response) 6:ou’re "er! cle"er(= M! cle"erness does not spea' of a ma&#cal realm that I am allow#n& them to &l#mpse) #t does not spea' of an emot#onal truth that the! ha"e learnt for themsel"es) and #t does not spea' of art( Occas#onall! I 'now that #t #s &#"en almost #n em$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#ence’s understand#n& of the p#ece’s 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# $e&#ns a set w#th 6et 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 that’s 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) $ut such a plot de"#ce has no mean#n& to offer) and #s clearl! a presentat#onal e7cuse for perforrr##n& a ser#es of sle#&hts( In fact) #t #s a mere nod #n the d#rect#on of mean#n&ful conte.t( 7Some performers) tr!#n& to ma'e #t more ,mean#n&ful)’ m#&ht attempt to relate the mo"ement of the card to some aspect of l#fe 4 l#'e am$#t#on) or) God sh#eld us from th#s ru$$#sh) the ,power of a woman’ when performed w#th a ueen( 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@ 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 won’t 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 46 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 can’t seem to sh#ft #t from #ts place( hen he rela.es) &#"#n& up(( - $ut now #t has d#sappeared altoðer( It doesn’t 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 wasn’t there at all((( th#s has happened to me $efore and he reaches across to spectator 0’s 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( #'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 don’t 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 can’t $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&( oss 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 inestment, 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#an’s 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 eller’s 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 is”how did !ou do that@= 4 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( et 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 6((( 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 spectator’s mental act#ons and the mo"ement of the r#n& to $e understood emot#onall! and unconsc#ousl!( h#s wa!) cause #s &#"en w#thout the wonder d!#n& a death) wh#ch can so often happen #n mental#srn( he nature of most mental#sm) as I ha"e ment#oned) #s &enerall! to answer uest#ons) not ra#se them( 6I ha"e th#s s'#ll and I use th#s to ach#e"e these results( h#s #s how 2 do #t(= 5hether #s a ps!ch#c a$#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&( It’s 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& ar#at#ons 7I’m sure we’d $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 aw) the not#on of one’s s#ns $e#n& car"ed upon one’s 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( 7he 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( he’d 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 chap’s 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 Neale’s $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&#c’s 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 ta 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#dn’t 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 a'es a$out three !ears to do perfectl!)= I add) and &#"e h#s hands a &entle sueee( 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 #t’s done) #t’s not what ma&#c’s reall! a$out) and that what I w#ll $e do#n& cannot $e e.pla#ned $! such th#n&s( It’s st#ll a card tr#c') and I don’t "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( hat’s 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 spectator’s #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 appea 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 $ecomes real at the end( I returned to the effect ,Qam#el’s Card)’ &#"en #n the same "olume) and chan&ed the word#n&( he rout#ne #s now as follows* A dec' of cards #s spread on the ta$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 wasn’t 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 that’s how #t $e&an( Of course at that a&e I d#dn’t reall! 'now what a dec' of cards cons#sted of 46 7I loo' at the spread cards and &ather them up8) 6 4 all I had was the #ma&#nat#on of a s#.-!ear old 4 7we loo' a&a#n and the cards ha"e "an#shed( B#& &asp from the aud#ence(8 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( 6han' !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 4 % 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 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! 4 and what we re%ect or #ns#st on as ha"#n& #mportance 4 w#ll shape our #nd#"#dual "#s#on) and therefore the wa! that we des#&n our rout#nes(
;elat#n& to Performance *ew th#n&s ma'e me more l#"#d than #nsult#n&l! $ad theatre of an! sort( Con"ersel!) perfectl! real#sed and e.u#s#tel! ele&ant performance can mo"e me deepl! and reduce me to so$$#n& l#'e a $#& &#rh( See#n& for the f#rst t#me &ood actor fr#ends) whom I alread! respect and lo"e) act #n someth#n& where the! e.cel #n"ar#a$l! mo"es me deepl!( I ha"e #nsuffera$l! h#&h standards as re&ards these th#n&s) and when people whom I 'now &o out and meet those standards) 2 am alwa!s transported( #n all other wal's of l#fe) I am "er! d#ff#cult to affect #n th#s wa!( 7Althou&h I was happ! to weep st#n&#n& tears at 4unset Feach e"er! morn#n& when #t &raced m! l#ttle electr#c tele"#s#on set( Now #t #s no more) and performers l#'e us must f#nd some other reason to &et out of $ed(8 See#n& omm! 5onder perform for the f#rst t#me $rou&ht a lump to m! throat( he moment that the $#rdca&e l#fted was so e.u#s#te that tears came to m! e!es( hat #s the onh! t#me that ma&#c has e"er reall! mo"ed me( It was a perfectl! real#sed moment #n a $eaut#ful rout#ne( omm!) as w#th all "er! &ood performers) has a lo"e for the art #n h#mself( he other opt#on) and the one that % w#sh to warn a&a#nst) #s to lo"e oneself too much in the ad! h#s d#st#nct#on) made $! Stanl#sla"s'!) #s "er! much worth d#scuss#n& #n relat#on to ma&#c( I remem$er accompan!#n& a fr#end to see a small show #n ondon( Part of the enterta#nment cons#sted of the attempts of an effem#nate man to s#n& and act h#s s#de of a lo"e stor!( It was dreadful( +e could ne#ther s#n& nor act to an! worthwh#le de&ree) and h#s attempts to do e#ther were deepl! em$arrass#n&( :et throu&hout #t was the clear sense that he absolutely loed the fact that he was doing it! 5hen he rece#"ed applause at the end of a num$er) he seemed to "#s#$l! swell as he a$sor$ed #t( he performance would ha"e $een far more honest) and euall! re"olt#n&) #f he had cl#m$ed up on sta&e and mastur$ated for an hour( Afterwards) I went $ac'sta&e to meet the other half of the duo that compr#sed the show* a talented comed#enne who had performed profess#onall! and wonderfull!( 5h#le chatt#n& w#th fr#ends after the performance) I saw the camp would-$e-mus#c-theatre-lu""#e flounce #nto the room and collapse onto a sofa demand#n& a Mart#n#( I watched and l#stened as all h#s Mends told h#m how &reat he had $een( +e offered transparent o$Dect#ons to the#r flatter!* ,/h no) I was dreadful ton#&ht((( reall! I was awful((= wh#le the! were u#te happ! to l#e to h#s face and tell h#m %ust how strong he was( +ow great and how hysterical! I stood) fum#n&( Not onl! had th#s man #nsulted us w#th a terr#$le e"en#n&’s enterta#nment) $ut he was clearl! want#n& onl! to hear how &ood he was( +#s whole reason for perform#n& was self&rat#f#cat#on( +e lo"ed h#mself as an actor) and that was wh! he d#d #t( Personall!) when I ha"e f#n#shed a pu$l#c performance) m! pr#or#t! #s to f#rst of all &o awa! a $#t on m! own and mull o"er how I felt #t went) and to ha"e some moments to ad%ust $efore %o#n#n& an! fr#ends( 5hen I do %o#n people I respect after a performance) I am reall! onl! #nterested #n 'now#n& what could $e $etter( 5hat wor'ed $ut what) more #mportantl!) d#dn’t( If I ha"e performed $adl! and ha"e people lie to me and tell me I was &ood) then I am $e#n& encoura&ed to atroph!* to stop mo"#n& forward and de"elop#n& what I do(
An!$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 he’s &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! don’t 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!man’s 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! $ecame personal( +owe"er) where !our focus #s on the de"elopment of the art w#th#n !ourself) or on the &rowth of the performance p#ece as a separate th#n& from !ou) then there #s no personal threat #n"ol"ed #n cr#t#c#sm( Paul /an#els once sa#d to me 6If cr#t#c#sm #s construct#"e) l#sten to #t( %$ #t’s 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) unconstructie 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#der’s 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 arm’s 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 perspectie 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! et 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(
Cold and Nast! As ma&#c#ans) we man#pulate( Man#pulat#on #s &enerall! seen as a d#rt! word) $ut #t #s not( #t #s a d#rt! word) and to trom$one some$od! #s also an unsa"our! e.press#on( Man#pulat#on) howe"er) #s a neutral e.press#on( eachers man#pulate the#r pup#ls( herap#sts man#pulate the#r cl#ents 7althou&h therap#sts are the "er! coc'-cheese of Satan and an!th#n& the! do #s as d#rt! as d#rt! can $e8( 5e all man#pulate each other and pla! out &entle power-stru&&les #n our e"er!da! con"ersat#ons( Ma&#c) #n fact) depends upon an a$#l#t! to deftl! man#pulate an aud#ence #nto e.per#enc#n& the #mposs#$le( Correctl! done) th#s man#pulat#on w#ll ele"ate the spectators) for wonder #s a del#&htful th#n&( Often mental#sts prefer to pro"o'e awe at the#r powers) for mental#sm #s) as I ha"e sa#d) too often a$out show#n& off an #ma&#nar! s'#ll rather tha%# creat#n& a moment of wonder outs#de of oneself( I am all for pro"o'#n& awe at m! #ma&#nar! powers) understand me( But I feel th#s can $e done su$tl! and #nd#rectl!) and #n a wa! that captures the #ma&#nat#on of the aud#ence) rather than patron#ses them( he man#pulat#on that we a#m to ach#e"e #s one that $r#n&s our aud#ences to a lo"el! place where the! can e.per#ence someth#n& that ma&#c e7clusiely offers( 5#tness#n& the #mposs#$le( u#te #n contrad#ct#on to th#s would $e the '#nd of man#pulat#on that lessens the spectator’s sense of self)
and l#m#ts her understand#n& of herself to an ar$#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( I’m 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 !ou’re %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!ant#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 spectator’s #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+# 4 erne) #t’s 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( I &a"e the follow#n& descr#pt#on) after Chr#s had hun& up the ,phone> Jow let me &et an #ma&e of !our fr#end #n m! m#nd( I’m 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 don’t see h#m as often( +e l#"es #n B#rm#n&ham now) I $el#e"e( Ih#s was correct) and pro"o'ed some #nterest( I $ased th#s onl! on the fact that I had seen the fr#end’s num$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@ he name ,erne)’ short for ,ernon)’ 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( u#te stron& pol#t#cal "#ews too( I’m &ett#n& a name) an odd one) $e&#ns w#th a ,’(( ,#ctor@’ ,ernon@’ 7I used the full name so that #t wouldn’t 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 4 % was #n"#ted to perform at Chr#s’ $#rthda! part! the ne.t wee'( erne) #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 freuentl! w#th th#s tool) !et I usuall! felt a &enu#ne d#staste for #t( 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 4 th#s sounds odd 4 a garden #n !our mouth( I was lea"#n& h#m to f#nd the connect#on w#th the dent#st’s nameH I don’t '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 4 a spec#al#st #n some area) $ut #t’s not a ma%or %o$ l#'e a root canal( +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 wouldn’t wr#te someth#n& as $land as ,Appt(’H h#s #s a new dent#st) not one !ou’"e seen $efore he had wr#tten the address* wh! would he #f he 'new the place@H and #ts not near where !ou l#"e) #t’s a $#t of a %ourne!( +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( :ou’re not part#cularl! $othered a$out &o#n&) wh#ch #s &ood 4 !ou don’t &et ner"ous l#'e some people( +e had wr#tten #n lar&e) conf#dent handwr#t#n&) wh#ch) w#thout &ett#n& #nto the nonsenses of &rapholo&!) d#dn’t su&&est to me apprehens#on a$out the appo#ntment(H= I wa#ted for a react#on( +e sa#d) 6I 'now !ou loo'ed #n m! d#ar!(= Bu&&er(
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&(( ,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) that’s #nterest#n&( It’s a l#ttle older than people usuall! choose* th#s #s a memor! from se"en or e#&ht) #s that r#&ht@ She was e#&ht( After all) !ou wouldn’t want to eat pecan p#e much !oun&er than that(H And there’s !ou) and((( some other '#ds@ h#s #s a &roup t!ing, #sn’t #t@ 5ell) pecan p#e ta'es some effort) so I &uessed that there’d $e a few people there(H And) oh) that’s odd() !ou’re at home) $ut you’re not at home! 5hat does that mean@ BThe cotta&e) note( Ne#ther 5randma’s nor an!one else’s( 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(( #t’s a treat) #sn’t #t( Someth#n& !our mother made((( she’s "er! creat#"e) as are !ou* that’s someth#n& !ou’"e p#c'ed up from her( :ou don’t stud! 3n&l#sh) do !ou@ A &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#dn’t ment#on ,pecan p#e)’ and I d#dn’t 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 don’t 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( Pause(((8 that’s a d#ff#cult p#cture to see) $ecause !ou’re loo'#n& down at someth#n& u#te close to !ou* there’s 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( Pause(((H Ah) that’s $etter( Oh) that’s #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( +e reacts "er! stron&l! to th#s( #e was #ndeed n#ne !ears oldH( :es) that’s "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@ Another $#& react#onH And then !ou stopped( Now) I’m see#n& !ou 4 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 '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&
that !ou spent a lot of t#me alone w#th) and #n fact I’m see#n& !ou sat on !our $ed( hat’s 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@ I’m &ett#n& th#s '#nd of act#on((( I m#me the strumm#n& of a &u#tar w#th m! r#&ht hand and he Iau&hsl( :es) #t’s someth#n& l#'e pla!#n& a &u#tar $ut #t’s 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#dn’t &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 #'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#dn’t 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$%ect’s 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! 4 !ou can afford to meander around for a l#ttle wh#le and $r#n& #t to an end #f !ou don’t feel #t’s &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( .
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' $ac'( I held h#s stare and sm#led 'now#n&l!( 6
It #s "#tal for our model of ma&#cal performance that we set the scene w#th su$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 hour’s 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 neer 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! don’t 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
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 4 $ut these are all #n"#s#$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 hae brought anything with me! No one #s &o#n& to #nwardl! &roan as 2 produce a prop(
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 $! what !ou don’t do) translated deftl! and fa#ntl! #nto what !ou do! 5hen I sa#d to
A /#fferent oo' at P#c'-Poc'et#n& %
t’s u#te earl! #n the morn#n& now as I t!pe and were #t an! later I would pro$a$l! not adm#t to what I am a$out to( But I ha"e not as !et $athed) and m! Morn#n& 3arl Gre! #n the trad#t#onal Morn#n& Sm#le! Mu& #s as !et uns#pped( I am $arel! m!self( At Un#"ers#t!) oh dear Chr#st) and I ma'e #t "er! clear now that that was man! !ears a&o and #t doesn’t &o on an! more) $ut at Kniersity, $efore I was e"en twenty, I was what I can onl! descr#$e as one of the top ten student-le"el at#n Amer#can Ballroom /ancers #n the countr!( Up and down th#s sweet) clean) &reen 3n&land I could $e seen #n m! fau.-s#l' $lac' sh#rt w#th the $#& open front spl#t to the na"el) an em$arrass#n& ,’ l#ned w#th p#n' and s#l"er seu#ns and wh#ch) for some reason 'nown onl! to Beele$u$ and h#s f#lth! henchmen) sported a sodd#n& butterfly p#c'ed out #n more secDu#ns across the chest( I d#d not choose th#s #tem) #t was des#&nated m#ne $! /#) our danc#n& #nstructr#. - a charm#n& old lad! who ran her own a$atto#r( +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
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#dn’t w#n our pr#es) 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#e) 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 $allroom-danc#n& amon&st #ts !outh( hese suare-set) cra! dudes en%o! the cha-cha almost as much as the! en%o! wear#n& s#ll! spectacles and dr#n'#n& calc#um-r#ch m#l' stra#&ht from the udder wh#le the#r chee's and 'neecaps "#s#$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 at#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$esues 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! walt w#th an attract#"e stran&er( I had $ecome adept at someth#n& that was to $e useless( Stud!#n& aw 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 aw( 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 aw 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#lor’s 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( eather 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'et’s 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 euall! #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
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( #'e) for e.ample) m#nd-$low#n& ps!cho'#nes#s and un$el#e"a$l! d#rect telepath#c stunts( et 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#dn’t 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#dn’t 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 wouldn’t 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#t’s #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( et 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 4 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! seuence 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 seuence( :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( 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
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 $raen 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 reuest 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(
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( u#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 $e at 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&( /
er! 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 spectator’s %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(
The ;atch 4teal h#s #s a popular steal) and one that #s descr#$ed #n deta#l #n other wor's( In essence) !ou ta'e the spectator $! the wr#st from a$o"e) !our thum$ press#n& a&a#nst the face of the watch( :our th#rd f#n&er #s naturall! #n pos#t#on to f#nd the end of the strap) and to wal' #t up throu&h the $uc'le( h#s sante f#n&er p#nches the same end of the strap) a&a#nst the second f#n&er #f need $e) and pulls #t up and clear of the p#n( Keep#n& the strap up and $ac') the f#n&ert#p pushes the p#n down) and 'eeps #t there( he strap #s released and the watch #s pulled awa! #n palm pos#t#on( 5ho needs p#ctures@ #'e man! non-e.clus#"e p#c'-poc'ets( I onl! wor' w#th leather straps( One can afford to $e opportune( If I onl! see metal straps) I don’t steal an! watches( I would) howe"er) refer the enthus#ast#c no"#ce to the ;atch 4teal $ideo of Chapp! Bra#l(
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 spectator’s 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!) ,hat’s 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 wouldn’t m#nd e.chan&#n& seats w#th !ou(
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( It’s 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(
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 sueee 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(
The Cigarette through 4hirt as isdirection for E7tensie Thieery 5hen I perform the c#&arette-throu&h-sh#rt) I do so #n order to pro"#de l#&ht rel#ef from what n#a! ha"e $een a ser#es of fa#rl! #ntense effects( o add to #ts #mpact) I rel#e"e the spectator of as man! $elon&#n&s as I can accord#n& to a well-planned scheme wh#ch I shall descr#$e here( Both the c#&arette effect and the steals are performed as l#&ht rel#ef th#s #s a more trad#t#onal sett#n& for p#c'- poc'et#n&) $ut I descr#$e #t here to show how much can $e ach#e"ed #n a short spac e of t#me and as an e.ample of wor'#n& out co"er and m#sd#rect#on( /
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 et’s 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)(( I’m 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'( er! 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 hasn’t 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) amaement 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#dn’t &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
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! $ew#ldered con"ersat#ons later( A lot) !ou’ll a&ree) to &et out of a thum$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 won’t 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 person’s 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 e mot#"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"en’t !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( 6((( 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#dn’t 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) $#arre 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"en’t !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&( 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( er! often) #f 2 ha"e $loc'ed the rest of the &roup’s "#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 #t’s 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 4 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#ence’s #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$t an #mmensel! enterta#n#n& s'Ill( P#c'-poc'et#n& pro"#des an e.cellent lesson #n spectator-handl#n&) conf#dence and control) as well as the '#c' of adopt#n& a charm#n& "eneer wh#le s#multaneousl! fleec#n& someone( 5here I once performed #t enthus#ast#call! and openl!) I now use #t onl! to add sp#ce to those ma&#cal cadenas that "ar! the pace and te.tures of m! performances) and ha"e &#"en #t a dar'er feel for m! more ser#ous act( And there #s noth#n&) nothing l#'e ta'#n& a$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 $eaut#ful) natural dramat#c resolut#on wh#ch has a messa&e of 6/on’t mess w#th me(=
;ecreat#on and ;epet#t#on "ro$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 doens 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( #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) $ut I don’t th#n' for a moment that !ou should #mpose that l#m#tat#on upon an aud#ence who ha"e e"er! r#&ht to e.pect far more(
Act#n& echn#ue ;emem$er#n& to 9or&et -
*#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 he’s 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) Peter’s 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 $ac' #nto h#s m#nd’s e!e( An awareness of h#s l#nes const#tutes an #nele&ant and detr#mental scenar#o for the actor(
I ha"e no dou$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 Peter’s descr#pt#on of the process) and thou&ht of the relat#onsh#p that a ma&#c#an 4 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 $r#&ht star of the area’s clu$) perform#n& card tr#c's perfectl! well $ut '#ll#n& them dead $! rec#t#n& a stream of p atter l#nes at us( here was no spontane#t!) r#o charm) no l#'ea$#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( /
+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 eu#pped performer of an! '#nd) produc#n& a f reer 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 performer’s 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 #t’s &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 $#arre $l#ndness and deafness to feed$ac' #s remar'a$l! common amon&st performers 4 $ut I suppose that when all else fa#ls) a stra#&htforward refusal to face real#t! can $e an #mmense comfort( In Ne"#l Mas'el!ne’s words)
6the possess#on of an #ntellect so o$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*
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 $etween act#n& that flowed eas#l! from the heart and the forced presentat#on of a cl#ch) wh#ch was the standard fare( Clearl! as ma&#c#ans we are not faced w#th the same strenuous demands on our act#n& a$#l#t#es as the actor who prepares for The Cherr!
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(=
ikolay Aogol, pp( 2F-?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 2T) 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) cleer! 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#arre 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#ch) 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
the s#tuat#on were true as'#n& what would .
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*
+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 Noel’s 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( #'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# 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 4 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( et !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 reu#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#ch) present someth#n& that resonates honest!) 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(
Part hree* 'ew Perce"tions
Creat#"#t! h# Isolat#on
6Antes s ue mat acompar#hado(= JFetter alone than in bad company’ Portuguese proerb! /
A
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! dal#n& appearance that n#&ht( 5h#ch) for +ea"en’s 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 an&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( et 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 #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 wouldn’t 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( u#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! shouldn’t &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#e !our pets( And I 'now what that’s 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 other’s 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 sho w( 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 other’s 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’ ecturers '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# 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 ennart 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 la#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 la#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 $e indiidual to us* #t w#ll ha"e stamped upon #t the hallmar' of our personal#t!( he more we tread th#s path and ref#ne our creat#ons) see#n& them ent#rel! from the aud#ence’s an&le) the more our ma&#c w#ll resonate an #nd#"#dual approach worth e.per#enc#n&( here #s noth#n& l#'e the moment of d#sco"er#n& the solut#on to a creat#"e pro$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 $! someone else’s "#s#on( S#nce prett! much a$andon#n& the performance of an!one else’s 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#an’s 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 o If !ou are a ho$$!#st) th#n' $#&&er than %ust hobby! 2 would hate !ou to $ecome one of those em$arrass#n& Undes at Chr#stmas( Be&#n the creat#"e chan&es #n the approach to !our performance) and &#"e !ourself the respect and the effects the we#&ht that the! deser"e( Start to see the mater#al of other performers that !ou watch #n lectures or on "#deos as their mater#al) and althou&h !ou ma! ha"e the right to perform what the! ha"e pu$l#shed) start to not#ce how do#n& so would onl! ma'e !ou #nto an un#ma&#nat#"e cop!#st) an amal&am of d#fferent st!les and ar$#trar! tr#c's(
o"e the effects that !ou perform) $ut ne"er m#sta'e them for the ma&#c( And real#se that to perform well) !ou must step out of the fratern#t! #nto !ourself) and see of what stuff !our dreams are made(
+ow o Be :ourself Ma&#c Boo's that deal w#th the matter of presentat#on and performance character are full of the ada&e) WBe !ourself(= It #s at once an #mmensel! eas! ar#d "er! f#ddl! th#n& to ach#e"e( It #s a pro$lem that #s appropr#ate for e"er! no"#ce ma&#c#an) and some ser#ous profess#onals( A ma&#c#an &ett#n& started &enerall! does so w#thout an awareness of h#s natural st!le) for #t #s someth#n& to $e learnt o"er t#me( 3uall!) 9tc w#ll $e unaware of the #mportance of the #ssue at the same t#me that h#s fr#ends are aware that he $ecomes "er! unl#'e h#mself when he performs( Now a num$er of performers adopt such an e.a&&erated persona when perform#n& that #t may seem lud#crous to #ma&#ne that the! are ,$e#n& themsel"es(’ I trust that amar# steps out of character when he remo"es the hat and &oes home( Otherw#se) he would $e an e.haust#n& man to 'now) w#th h#s constant offers to fr#ends and fam#l! al#'e to ,show them someth#n& ethpethia#’ Ius h!pnot#c rela.at#on tapes would $e a d#saster( :et the character that we are presented w#th #s clearl! a comforta$le offshoot and e.a&&erat#on of a part of h#s personal#t!) and he s#ts well w#th #t( 5e) #n turn) ma! $e so$$#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 one’s 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#’s 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 conincing! :ou w#ll pro$a$l! th#n' !ou are) $ut #t won’t $e u#te r#&ht( he process reu#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 #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 don’t &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( #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( #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(
Prest#&e and /#s#llus#onment O
"er the course of the three afternoons that #t has ta'en me to wr#te th#s $oo') I ha"e spo'en to man! profess#onal and sem#-profess#onal close-up ma&#c#ans a$out how the! feel a$out the#r wor'( here #s an #ssue that alwa!s used to l#n&er #n the $ac' of m! m#nd) wh#ch I often $r#n& up(
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 shouldn’t) 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 $raenness( 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* doesn’t #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) #sn’t 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 loe to perform( But #t would $e wron& to do so) and moreo"er I ha"e no w#sh to perform other people’s mater#al( So I don’t) $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#dn’t( 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& one’s 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 ,’-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! adeuate 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$ut Moart and Sal#er# sound the same to the la!man(= /
h#s reall! stuc' #n m! m#nd( Is there truth #n th#s@ Are there o$%ect#"e standards) wh#ch can $e allocated to ma&#c #n th#s wa!@ Is the la! aud#ence reall! the %ud&e and %ur! when #t comes to sort#n& the wheat from the chaff) or are the! %ust that 4 la!men who) #n the#r essent#al #&norance) do not ha"e the a$#l#t! to dec#de@ Should we %ud&e a ma&#c#an’s standard $! h#s popular#t! amon&st h#s peers) or h#s commerc#al success@ uc'#
Prest#&e #s %ust su&&est#on( It #s commun#cat#n& a perce#"ed sense of author#t!) wh#ch renders the person w#th the #nfer#or staths a far more su&&est#$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( $! nature of that fact) essent#all! tr#"#al( /oesn’t #t all seem daft@ Ar#d when I used to as' that uest#on) m! personal answer was #n"ar#a$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 $e certa#nl! wonderful( :et when 2 as'ed #t of the wor'#n& ma&#c#ans whom I encountered) I often rece#"ed essent#all! the same answer( 9es, % am increasingly aware of how triial it #s) and % hate doing this run*of*the*mill stuff' which you can’t really e7pect anyone to take seriously! % urn bored of doing the same tricks, and een if % start doing a new one % get bored of that too, and ( know it all seems so pointless and % hate the fact tim& they find it pretty pointless too! % do the same tired tricks, and because ( know they’re triial, ( sort of make frn of them too, because they seem stupid to me now too! % want to do something else w#th my magic, to hae people take it and me seriously, but % don’t know what!
l#t #s the d#s#llus#onment of the wor'#n& close-up ma&#c#an( +opefull! #t means that one more ma&#c#an #s a$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 one’s #dea of what ma&#c #s) and what one’s 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( /on’t 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( ose the spon&e $alls and an!th#n& that !ou feel that !ou couldn’t hold a room’s 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 $eh#nd !ou( hen &o out to perform fresh and ea&er to #mpro"e e"en more) and from the moment !ou arr#"e) inent and walk your own prestige! Carr! #t around w#th !ou w#th the u#et nature of the man conf#dent #n h#s author#t!( Commun#cate #t thorou&hl! and su$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 $e) you control the
ma&#c) #t doesn’t 7throu&h d#ctat#n& what #s ,tr#ed and tested’ or a ,sure-f#re commerc#al w#nner’8 control !ou( It’s a whole new %o$( 01X
A Note on Per"erse Spectator +andl#n& "#cture the unfortunate) class#c s#tuat#on( he ma&#c#an approaches a ta$le) $r#efl! #ntroduces h#mself to the d#ners) and as's a lad! #f he ma! $orrow her r#n&( She #s unsure) a l#ttle em$arrassed) not 'now#n& #f she reall! wants to $e #n"ol"ed( he performer has done noth#n& to #n&rat#ate h#mself) he has not come across as remotel! #ntr#&u#n&( She #s unsure whether he has $een h#red $! the "enue or #s %ust some clown show#n& off) so she reall! doesn’t 'now whether she should lend h#m an!th#n& "alua$le( 3"entuall!) more out of em$arrassment than an!th#n& else) she remo"es her r#n&) ha"#n& cau&ht her hus$and’s e!e for appro"al f#rst( he ma&#c#an ta'es #t( Now) please as' !oursel"es) for !ou are all ma&#c#ans( 5h!) dear ord) #s #t now customar! for the performer) ha"#n& $arel! &a#ned the trust of th#s lad!) to now ma'e #nsult#n& comments a$out the r#n&@ I mean) what #s that a$out@ 7o"el!( :ou should ha"e #t made #nto a r#n&=
6I’"e seen these a"a#la$le #n &old= 6I’ll $e careful( I &uess #t has to &o $ac' on Monda!= 6Oh) what does th#s sa!@ It’s #nscr#$ed((( K((( 3((( ((( oh) ,Kello&&s= 6oo') #t’s ch#pped where #t feel out of the crac'er= 6Chr#st) !ou ha"e appall#n& taste #n %eweller!( And !ou’re o"erwe#&ht too= 5here do we &et th#s from@ Am I m#ss#n& someth#n& o$"#ous) or #s there someth#n& deepl! per"erse a$out #nterrupt#n& people wh#le the! are en%o!#n& themsel"es) demand#n& that the! trust !ou when we do noth#n& to commun#cate that trustworth#ness) and then ma'e #nsult#n& comments@ +as #t e"er happened that the lad! has snatched the r#n& $ac' and sa#d) 65ell) #f !ou don’t l#'e #t I’ll ha"e #t $ac'(= I hope th#s has occurred on occas#on( I hope that a ma&#c#an has made an #nsult#n& comment a$out someone’s sh#rt and then $een punched full #n the lace( On sta&e) somet#mes these th#n&s can wor'( 9rom our performance area) the sta&e) we can often &et awa! w#th repet#t#"e &ood-natured #nsult#n& of certa#n mem$ers of the aud#ence( h#s) handled well) can $e funn!) thou&h #t can more eas#l! $e m#shandled( But the #ssue of performance space #s an #mportant one( In close-up ma&#c) we approach a &roup and enter the#r space( As I ha"e sa#d pre"#ousl!) #t #s "#tal for stron& ma&#c that we re"erse that d!nam#c and control the area as #f #t were our own( But th#s must happen #n an unspo'en wa!* on the surface) we must st#ll show a
respect for the fact that we ha"e #n"#ted oursel"es o"er( o hurl the same sorts of #nsults across the restaurant ta$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 couldn’t 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 uneu#"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 eu#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( 3uall! 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#ch( 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 $etter to d#rect them at oneself( In do#n& so) one d#ffuses one’s status for a moment and the aud#ence apprec#ate #t( In 01
a card rout#ne I perform) a po#nt was alwa!s reached where I spread out the three chosen cards for a round of 9#nd he ad!( 6Normall! pla!ed w#th a ueen and Iwo other cards( Now) we don’t ha"e a ueen here I would sa!) then pause and loo' at a male spectator near me for a moment) 4 no we don’tso we’ll use these three(= he pause was well-t#med and #t ,&ot a lau&h(’ I cont#nued us#n& th#s l#ne for a lon& t#me) unt#l one n#&ht() when I came to as' a uest#on of the same spectator a l#ttle later #n the rout#ne( +e shru&&ed and sa#d that he d#dn’t care) add#n& that I had ,called h#m a ueen earl#er on(’ /1
It was a moment s#m#lar to real#s#n& that puff#n& m! foot on the ta$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 $e #nsult#n&( But of course the spectator doesn’t real#se that I use that as a stoc' l#ne e"er! t#me I come to that po#nt #n the rout#ne* he sees #t as a personal comment and ma! #ndeed ta'e offence ## he #s so #ncl#ned( he l#ne I now use #s) 6Now we don’t ha"e a ueen here then I pause #n the same wa! and loo' down at myself and add) 6em) desp#te the fo$-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& one’s 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*
he ma&#c#an stalls as lon& as poss#$le $efore approach#n& a &roup(
Y
+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 $or#n&(
+e "#ews each &roup as a challen&e(
+e #s happ! to e.pose a method or two #f #t &ets a lau&h(
+e #s more #nterested #n &ett#n& a lau&h than perform#n& stron& ma&#c 7,Ser#ous’ comed!ma&#c#ans e.cepted8)
+e #s o"er-stuffed w#th effects that he doesn’t perform(
+e tal's too u#c'l! or too u#etl!(
+e &ets an&r! or upset when a spectator treats h#m w#th d#srespect(
+e #nsults spectators(
+e #s #mpat#ent w#th spectators(
Y
+e does not part#cularl! en%o! perform#n& h#s ma&#c( It #s a %o$ l#'e an! other(
Y
+#s aud#ences don’t seem as respons#"e as he would l#'e) e"en thou&h the tr#c's are 'nown to $e &ood ones(
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 $e the reason for perform#n&( Be clear #n !our m#nd what !our ma&#c loo's and feels l#'e* what the e.per#ence of !our ma&#c #s to !our aud#ence( et that clar#t! dr#"e the creat#on of !our "er$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 oun techn#ues) and form !our awn model that ma'es m#ne seem #ncomplete and naZ"e( hat’s 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(
Best w#shes) /erren Brown(
("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’ $and#ed up and down the electr#c super-motorwa! as #f art and ma&#c were two concepts uneu#"ocall! euated ar#d the most well-su#ted word-compan#ons that one could e"er hope to f#nd lum$l#n& w#th each other #n the coats-room at an #deas-part!( It seems that throu& throu&h h the l#tera l#teratur ture e of ma&#c# ma&#c#ans ans determ determ#ne #ned d to deem deem the#r the#r own ma&#c ma&#c #mpor #mportan tantt 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 what’s commercial, what’s 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 $! the nml$er of $oo'#n&s ta'en #n a !ear and l#ttle else #nterests h#m* he happ#l! performs e.clus#"el! the mater#al of other other perfor performer mers s 7all 7all fa#rl! fa#rl! pu$l#she pu$l#shed d I am sure8 sure8 and spurns spurns an! a$stra a$stract ct d#scus d#scuss#o s#on n 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! plent! of the latter latter t!pe) $ut I wonder wonder how much the! &enu#nel! &enu#nel! en1oy en1oy the#r wor'( Presuma$l 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! $el#e"e that we should all spend our profess#onal l#"es ma'#n& plent! of mone! from what we en%o!) en%o!) so I ha"e no uarrel w#th the cann! mar'et#n& a$#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( 76oo'E 3u&ene’s $eard’s on f#re(= or 6oo' outE Ma. has &ot a &un(=8 It #s a sham shame e that that more ma&#c ma&#c#a #ans ns do not not lie ie the#r the#r ma&#c) ma&#c) 7altho 7althou&h u&h that that does does not mean mean patholo&#call! pluc'#n& co#ns from a shop-cler's’ ears each t#me !ou pa! for someth#n&((( there is 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 romance and del#&htful del#&htful w#c'edness 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 o treat #t as art #n a wa! that was onl! onl! fool# fool#n& n& oursel oursel"es "es could $e #mmen #mmensel sel! ! od#ous od#ous and r#fe r#fe w#th w#th preten pretens#o s#on( n( If the art#st art#st#c #c worldworld-"#e "#ew w #s al#en al#en to a part#c part#cula ularr ma&#c# ma&#c#an) an) I #ma&# #ma&#ne ne #t a fut#l fut#le e 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 ne"er e.per# e.per#enc ences es the feel#n& feel#n& of eleat eleating ing 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$$!) and ne"er reall! means an!th#n& to h#m) then all &ood luc' to h#m w#th h#s endea"our( 5e must part compan! am#ca$l!( am#ca$l!( But for those of us who do approach our ma&#c as ha"#n& the potent#al of $e#n& art) or at least &enu#nel! art#st#c) wc ha"e open to us a new aspect of oursel"es that constantl! &rows and challen&es us) one wh#ch del#&hts and #nstructs) and one #n wh#ch we m#&ht f#nd a means of #mpart#n& our pecul#ar slant on the world( +owe"er) the $enef#ts der#"ed from th#s approach do not automat#call! render the pract#ce art( /o those of us who deem ma&#c art merel! see' a sooth#n& ton#c lot that &u#lt! feel#n& of fraudulence) wh#ch $esets an! consc#ent#ous performer@ /oes #t stem from the desperate cr#es of a&e#n& ma&#c#ans who) perhaps) approach the tw#l#&ht of the#r careers and worr! that the#r success #n the ma&#c world means "er! l#ttle@ Are we merel! frustrated performance art#sts trapped #n a pedestr#an &enre) desperatel! see'#n& some ###us#on of worth #n a tr#"#al past#me@ Is th#s chapter noth#n& more than the fr#&htened mouth-ru$$#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!) fratern#t!) and rema#ns) #n m! op#n#on) st#ll the $est wor' of #ts t!pe( he sect#on of the $oo' of most #nterest to us at th#s %uncture #s the f#rst part) #n wh#ch Ne"#l Mas'el!ne carr#es out an e.tens#"e and u#te wonderful stud! of ,he Art #n Ma&#c)’ wh#ch) #n h#s words) 6#s a "er! d#fferent th#n& from 6he Art of Ma&#c( he latter term ma! em$race an #mmense ma&#c>> a s#de num$er num$er of d#"erse d#"erse cons#derat#on cons#derat#ons( s( he former rStes to one s#de onl! of ma&#c 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) +owe"er) the pr#de felt $! Mas'el!ne and the sweep#n& author#t! w#th wh#ch he ma'es comments on art and related #ssues are rel#cs from a #ctor#an a&e* one wh#ch del#&hted #n &rand statements and or&ulous) ma&n#f#cent artwor's( 5e man#fested then a pr#de #n our a&e and a fa#th #n the worth of our constructs) whch I) personall!) would dearl! lo"e to e.#st #n some form toda!(
he stor! toda! #s depress#n&l! d#fferent( Art and #deas are d#sposa$le* ondon’s &rand and e"erla e"erlast st#n& #n& Cr!st Cr!stal al Palace Palace could could ne"er ne"er $e $u#lt $u#lt #n a post-m post-mode odern rn world 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 ondon a few !ears a&o after $e#n& reno"ated reno"ated to #ts former h#&h #dor#an #dor#an &lor!( &lor!( he post-colo post-colon#al n#al &u#lt felt $! #nte #ntellllec ectu tual al m#dd m#ddle le-A -Ame mer# r#ca ca has has no dou$ dou$tt &#"e &#"en n r#se r#se to some some of the the w#ld w#lder er e.ce e.cess sses es of hermen hermeneut eut#c #c relat# relat#"#s "#sm) m) and we can no lon&e lon&err comfor comforta$ ta$l! l! ma'e ma'e def#n# def#n#t#" t#"e e and o$%ect o$%ect#"e #"e statements a$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& parent#n& schemes wh#ch would ne"er #mpose structure structure and d#rect#on d#rect#on upon ch#ldren ch#ldren for fear of oppress#n& them w#th ,d#sc#pl#ne(’ 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!ne’s 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'(
)rt as Iepresentation
Mas'el"ne wr#tes at the start of h#s ar&ument* 69rom the t#me of Ar#stotle to the present date) the consensus consensus of author#t# author#t#es es has dec#ded that all art #s $ased on #m#tat#on( Most of the author#t#es ha"e ,flown off the handle’ #n tr!#n& to dec#de what const#tutes art #n the a$stract) $ut all a&ree that the $as#s of art #s #m#tat#on someth#n& that m#&ht e.#st #n / e#ther tho #m#tat#o #m#tat#on n of someth#n& someth#n& that actuall! actuall! e7ists, or of someth#n& c#rcumstances #ma&#ned $! the art#st((( +ere#n) we ma! %ustl! sa! that we stand upon sure &round / and here we ma! rest) (so far as pr#mar! cons#derat#ons are concerned( 5e ha"e no need to $e led out of our depth $! tr!#n& to def#ne that w##l-o’the wis", D,a$stract art)=
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 theory, #t was well- su#ted to the da!s necessar! cond#t#on for art status( Known as the mimetic theory, of Gree' tra&ed!) $ut ult#matel! falls flat toda!( 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& ;ead#n& Mas'el!ne’ Mas'el!ne’s s ar&ument ar&ument at th#s po#nt) I am surpr#sed that he chooses chooses the word ,#m#tate ,#m#tate’’ o"er ,represent(’ he representat#onal theor! of art #s the softened "ers#on of the m#met#c theor!) and a moment’s 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& Aarnial Aarnial of the )ui,nals )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( #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! 4 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#ch8 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 ;os w#ne wh#le the! l#sten to a C/ of the ondon 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 #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#ee 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 euate 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 $! the art#st as a frustrated emot#onal creature) us#n& h#s med#um to e.press profoundl! felt sent#ment( /a#nt! poets w#th "el"et %ac'ets 7u#te charm#n& couture e"en to th#s da!8 spran& up #n Par#s salons all o"er the world) sport#n& lace hand'erch#efs #nto wh#ch the fash#ona$l! consumpt#"e could no#s#l! cou&h $lood( here was a pa#ned) fr#ll!
2
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 Baroue a&e) most perfectl! and powerfull! e.ecuted $! Bach) alread! ha"#n& $een coarsened under Moart) 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( uest#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 $e uest#oned #n a wa! that would ta'e us r#&ht to the a"ant-&arde art that we 'now toda!( B! the t#me that Mas'el!ne and /e"ant were wr#t#n&) theor#es of art-as-e.press#on were "er! popular( 9reud’s wor's) wh#le alread! 'now## to academ#cs) were a$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!ne’s 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 actor’s 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#ed 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#ed 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 indiiduali-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 pules) 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!
)rt and 6orm Modern art e"ol"ed &raduall!) $e&#nn#n& w#th the Impress#on#sts’ deconstruct#or# of the "#sual e.per#ence and the loosen#n& of the sol#d#t! of the #ma&e( It cont#nued w#th the e.per#mentat#on of Ceanne) as o$%ects $ecame reduced to the#r &eometr#c shapes to re"eal "#sual structure( P#casso) Braue and the Cu$#st mo"ement followed) and on the#r heels came a$stract art) wh#ch has $een at the lorefront of twent#eth centur! pa#nt#n&( As ment#oned $efore) much a$stract art represents noth#n& at all) and a new model was needed to allow modern art to $e seen as art( In the same wa! that we must f#nd a cr#ter#on for art status wh#ch ma! #nclude the performance of ma&#c) a new wa! of loo'#n& at art was necessar! to #nclude th#s new and contro"ers#al wa"e of pa#nt#n& wh#ch was e"ol"#n& #nto someth#n& wh#ch no former theor#es of art could em$race( A cr#ter#on was needed wh#ch would #nclude all past ad) and that cr#ter#on was) accord#n& to the #nfluent#al theor#st Cl#"e Bell) the possess#on of sigthficant form! In other words) some sal#ent des#&n must $e offered a un#form#t! of structure wh#ch encoura&es us to cons#der the wa!s #n wh#ch our perceptual sens#$#l#t#es #nteract w#th the compos#t#on of the p#ece( Accord#n& to th#s theor!) the representat#onal content of a p#ece #s ent#rel! #rrele"ant( /
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 4 for all these artwor's w#ll st#ll ha"e the common denom#nator of s#&n#f#cant form( +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 &rotesue 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 $e offered here wh#ch #s not c#rcular or euall! as #ll-def#ned( Modern mus#c af#c#onados w#ll 'now the
whate"er he #s choos#n& to sa! w#th h#s ma&#c( And #n the same wa! that we must su$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 pule) 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$le means of conferr#n& art status( So we must mo"e on(
)rt and )esthetic E7perience So far we ha"e s'#mmed throu&h the essent#al theor#es of art that deal w#th the ual#t#es of the wor' and #ts relat#on to the art#st( 9rom another an&le) we could s#mpl! sa! that art #s someth#n& wh#ch #s created w#th the #ntent#on to produce aesthet#c e.per#ence( 5e could ar&ue that there #s someth#n& spec#al a$out the e.per#ence wh#ch art offers) and that we should call an!th#n& art) wh#ch offers and #s #ntended to offer that e.per#ence( hat #ntent#on to afford aesthet#c e.per#ence need not $e pr#mar!* #t ma! coe.#st w#th) sa!) rel#&#ous or pol#t#cal #ntent#ons) But the not#on of #ntent#on separates art from nature) a pro$lem that occurred w#th our cons#derat#on of s#&n#f#cant form #n the formal#st theor!( A&a#n) th#s seems a pro$a$le scenar#o) pro"#ded we can a&ree what an aesthet#c e.per#ence #s( 5e cannot sa! that #t #s the e.per#ence of art) for then our theor! would $e c#rcular( G#"en that we ma! $e a$le to successfull! ar&ue that ma&#cal performance affords th#s '#nd of e.per#ence) let us cons#der a couple of "ers#ons of what aesthet#c e.per#encc m#&ht $e( 5e shall th#n' of them as the content*orientated account and the affect*orientated account! he f#rst) content-or#entated account) deals w#th the propert#es of a wor') wh#ch can $e sorted under the head#n&s of un#t! 7coherence8) d#"ers#t! and #ntens#t!( Attend#n& to these propert#es amounts to an aesthet#c e.per#ence of a wor'( In effect) th#s account sa!s what the aesthet#c e.per#ence 6conta#ns(= 5h#le th#s ma! of#en descr#$e our e.per#ence of an artwor') #t does not seem to relate to the apprec#at#on of ma&#c) unless one #s a fellow ma&#c#an attend#n& to the techn#cal aspects of another’s performance( h#s #s $ecause the ma&#cal e.per#ence #s not a$out attend#n& to and cons#der#n& aspects of a performance #n a detached ma#mer) rather #t #s a$out the raw) emot#onal #n"ol"ement of an aud#ence #n a certa#n t!pe of theatr#cal e.per#ence( It #s not a$out stand#n& $ac' and apprec#at#n& ual#t#es of the effect( 5hat of the affect-or#entated account@ h#s descr#$es the t!pe of e.per#ence wh#ch aesthet#c e.per#ence #s) rather than sa!#n& what #t should conta#n( It descr#$es #t class#call! as $e#n& 6mar'ed $! the d#s#nterested and s!mpathet#c attent#on and contemplat#on of an! o$%ect of awareness whatsoe"er for #ts own sa'e alone(= /#s#nterested attent#on means that we do not ha"e other mot#"es #n attend#n& to the wor') and do not as' #f #t #s morall! correct* rather we attend to #t on #ts own terms( S!mpathet#c attent#on means allow#n& oneself to pla! $! the artwor'’s rules* such as accept#n& #n an opera that people m#&ht s#n& the same l#nes o"er and o"er a&a#n to each other or that someone m#&ht fall #mmed#atel! #n lo"e w#th a woman of such elephant#ne stature( Contemplat#on) #nterest#n&l! for ma&#c) #s an act#"e e.erc#se of the m#nd to $r#n& toðer poss#$l! confl#ct#n& st#mul# to form a coherent whole( +owe"er) #t #s necessar! that
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 doesn’t( /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 5arhol’s 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$out f#lm* #t has a u#te d#fferent a&enda from el#c#t#n& the class#c aesthet#c response( As re&ards the affect- or#entated account) #t #s the case that plent! of artwor's ma! ha"e an a#m to rouse an aud#ence to protest or to chan&e aspects of the#r l#"es( h#s #s clearl! opposed to the #dea of d#s#nterested contemplat#on( And our demon#c f#&ures ment#oned earl#er) des#&ned to ward off dan&er) were not made w#th the #ntent#on of produc#n& that t!pe of contemplat#on( he t!pe of artwor' 'nown as a ,read!made)’ such as /uchamp’s 6ountain, wh#ch #s s#mpl! a ur#nal on d#spla!) has an #ron#c ual#t! a$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
)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 $e an 6open concept)= #n wh#ch new cond#t#ons and cases w#ll constantl! ar#se) render#n& #t( accord#n& to a freuentl!-c#ted Neo-5#tt&er#ste#n#an) Morr#s 5e#t) 6lo&#call! #mposs#$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 4 #ron!) perhaps 4 wh#ch can $e found #n pre"#ous wor's( 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) $ut the neo-5#tt&enste#n#an approach #s st#ll not u#te r#&ht( he e.ample of /uchamp’s 6ountain 7the ord#nar! ur#nal on d#spla! as art8 causes pro$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(
Aonclusions: /ow ;e Define )rt Before deal#n& w#th the spec#f#cs of ma&#c #n the hope of answer#n& the uest#on of whether or not #t can $e art) I th#n' we ha"e arr#"ed at a po#nt where we can offer a safe model for dec#d#n& what #s or #s not an artwor'( Unl#'e pre"#ous wr#ters on the su$%ect) I do not ha"e the fa#th #n an! def#n#t#onal theor! of art to la! out a s#mple theorem #n a few l#nes $efore tal'#n& a$out Great Con%ur#n& and Profound St!les( et me sa! #nstead that art #s a set of h#stor#cal narrat#"es( It #s a stor! made up of d#fferent threads* a stor! wh#ch has tw#sted) lun&ed and $ro'en awa! from #tself o"er the !ears) a tale punctuated $! moments of re"olut#on and mut#n!( It #s a stor! that has come to def#ne per#ods of h#stor!) and to $e a cultural loo'#n&-&lass and a record of the flu. and asp#rat#ons of human#t!( An! new p#ece of art adds to the stor! #f we dec#de to #nclude #t(
+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!( l’erhaps 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$lances’8* and rather than #ndul&e #n semant#c ara$esues 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’* 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) $ut we would not deem #t as ha"#n& an! real rele"ance( 5e can accept /uchamp’s 6ountain w#thout worr!#n& a$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 releant 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 #&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(
agic and )rt 5e can loo' at the theoret#cal h#stor! of art and f#nd wa!s of ma'#n& ma&#c rele"ant to each ma%or def#n#n& set of cr#ter#a( Ma&#c hnft airs supernatural feats) as Mas'el!ne noted) and #n the same wa! #t represents them( Also) ma&#c can he an e7pression: an #ntended transm#ss#on to an aud#ence of an #nd#"#dual#sed emot#on e.per#enced $! the ma&#c#an and clar#f#ed throu&h act#on( It can $e "#ewed asfonn: #t can $e des#&ned to e.h#$#t s#&n#f#cant form) and #t can ha"e content and form wh#ch relate #n a sat#sf!#n&l! appropr#ate manner( Perhaps we could e"en crow$ar the e.per#ence of ma&#c #nto the aesthetic definition, and "al#date the performance there(
All th#s #s poss#$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 #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 eu#"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 /uchamp’s read!mades) Ca&e’s 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 /uchamp’s 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 themseles 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 $e art( Penn and eller e.plore throu&h the#r ma&#c an a&enda of roc'’n’roll scept#c#sm towards newa&e#sm) and #n do#n& so also man#fest a "#s#on w#der than ma&#c #tself( he#r theatr#cal#t! also lends #tself to somet#mes su$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
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#sual#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 term’s 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 clown’s 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 prereu#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 acua#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 oses 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'( /
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 there’s 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
not onl! m! #mpersonat#ons of h#m $ut e"er!one else’s 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 y'nan! M! r#&ht hand &u!( An e.haust#n& and $r#ll#ant man) and I th#n' the $est /ad I’"e
e"er seen( 0L1
Iichard cDougall! han' !ou for !our wor' and "#s#on 4 2 am #nde$ted( /on’t e"er tell an!one( Ahristian Iutherford! han' !ou for our d#scuss#ons 4 !ou are a "er! del#&htful fr#end to ha"e( Nerry !4adowit-! han' !ou for !our fa#th and &eneros#t! that has led to what I would ne"er ha"e
dreamed of( I’d st#ll $e suee#n& past wa#ters #f #t wasn’t 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!(
Also B! /erren Brown
