Lately I’ve noticed a definite increase in the number of people that are rather concerned with the idea that an effect must be totally examinable before and after. Seldom a day goes by without at least one phone call or e-mail with the same question. Can it be examined? How ridiculous!
I am always ready to help anyone that has any questions about the magic I sell or even some that I don’t . But, I always feel inclined to say, “Who cares?”
Whether or not an effect is examinable really has very little to do with the overall effect. That is, if you are talented enough to perform the effect with a little bit of skill. I’m not talking about sleight of hand. I’m talking about the skill and ability to control your audience. If you think that the first move of an effect is handing it out for inspection, you’re dead wrong. In fact handing items out for inspection, even those that can be thoroughly examined is a big mistake. Here’s several reasons why.
If you encourage your audience to examine one item, why can’t they examine everything. Unless every effect that you are performing can be examined, why put the idea into their head that they need to inspect anything.
It slows down your routine.
It’s not entertaining.
You may just as well say, “Here’s a trick… You can’t figure it out, …I know the secret and you don’t”.
Every magician should know that magic should be presented as entertainment, NOT as a TRICK , PUZZLE or a CHALLENGE FOR THE AUDIENCE TO ATTEMPT TO FIGURE OUT.
If your audience is asking to examine the props in your routines on a regular basis, you’re doing something wrong. You are doing something to encourage them to want to examine them. It may be #1 above or it could be that you’re routine doesn’t flow smoothly, you stammer around leaving gaps and dead space which allows them the opportunity or even encourages them to speak, ask questions, or react. Just as silence is deadly on stage, it can be even more so in a more personal setting or during a close up routine.
Here’s an example. One coin effect that I’m quite fond of is Alchemist Fantasy. I’ve performed it at least several hundred times over the past 9 years behind the counter at FunTyme Magic Shop.
The effect starts off by setting two stacks of two coins each and one single half dollar on the table.. At this point, if the spectator asked to see the coins, or even worse, if they were to move or even touch the stacks or pick up the single coin, the routine would come to a screeching halt. The coins absolutely cannot be examined. But yet, I set the coins on the table freely.
Sounds dangerous, doesn’t it?
Well let me tell you… In nine years I have yet to have one person to ask to see or touch the coins. How can that be possible? It’s easy when you realize that you must control the routine, and your audience. The success or failure of the effect relies more on, what I say and how I say it than the mechanics of the effect.
The routine is structured to discourage questions and the idea of examination never occurs.
I start talking prior to setting the coins on the table.
The first words out of my mouth are
“ This is called Alchemist Fantasy, There’s a story that goes along with it. You may have heard of an Alchemist. An Alchemist is a person that lived back in the middle ages…….blah, blah blah“.
The above is being said as I set the coins on the table. The focus is on what I’m saying rather than what I’m doing. Although it is actually four sentences, there are really no pauses for them to ask questions. The sentence, “You may have heard of an Alchemist.” is not a question, it’s a statement. It is a statement that makes them think and that may encourage a response, but since it is not a question, I don’t have to wait for a response. Sometimes, the spectator will nod. Occasionally they will say yes. Sometimes it appears that they start to respond but then realize it wasn’t a question. But, regardless, I continue on.
It may seem that I’m over analyzing a few words, but the fact of the matter is that these few words and the way I say them always puts the focus on what I’m saying rather than the coins.
The “introduction” continues on in the same manner until the coins are set on the table and the first stack is picked up, the single coin is picked up and the focus now switches to the coins displayed in my hand.
At this point a “move” is made and one coin changes from silver to copper. Two coins are set back on the table and one is retained in the hand. The two coins are set on the front of the table close to the spectator. I don’t tell them to examine them. However, they are totally aware that they could if they wanted to. They usually don’t. The process is repeated with the other stack and then the remaining silver coin turns into gold..
At this point, five coins are sitting on the front of the table, they are within the spectators reach just beckoning them to take a look. I never tell them to check the coins out. I never tell them to pick them up. But, I want them to, and they always do. They usually ask if they can look at the coins at this point and I act surprised, shrug my shoulders and say ….“Sure, if you want to” My body language and expression conveys the idea that it hadn’t occurred to me that anyone would want to look at the coins.
Hopefully, you can see that the structure of this routine is designed to control the thoughts and actions of the spectator in a very subtle way. It’s simply a form of MISDIRECTION. Usually, when we think of misdirection, we think of controlling what a person sees or where they look. It’s also very important to control their thoughts and actions with a little psychology or MISDIRECTION OF THE MIND.
If your spectators are consistently asking to examine your props, you need to take a closer look at how you are presenting the effect. You must be presenting them as “tricks”. Tricks by nature are a challenge to the spectator to figure out and you will find plenty of people that are up to the challenge. Taking a close look at your routines and considering how you can influence their thoughts and actions as it relates to the effect would be very beneficial.
There are a world of fantastic effects that cannot be examined. These effects may take a little more thought psychology, and performance skills, but they are well worth the effort.
By Ed Williams