Theatrics in Scripting: Magic

[raymondsingson]

Theatrics in Scripting: Magic
Raymond Singson

All too often, I seem to hear amateurs argue that in order for an effect to truly inspire or touch a spectator on an emotional level, it needs to speak for itself. In other words, being quiet and letting the magic happen is a direct route to a spectator's initimate mind. Perhaps the popular Blaine and Angel fad inspired this type of nonsense, but I wanted to offer a different point of view so others with the energy and drive to push their magic further can attempt doing so with a great degree of success.

When writing a script, I understand how most people don't know where to start. They have no idea how to make a particular illusion hit home with a particular person. "How can I invoke this type of reaction with this type of effect?" "How do I come off as the character I want to be with this illusion in my arsenal?" There are a lot of daunting obstacles in scriptwriting that should be seriously pondered in order to truly connect with an audience on a personal level. For the sake of example-- I'll conjure a script for Michael Ammar's Floating Dollar Bill (FDB),

The FDB has always been a major favorite item of mine. In effect, the magician slowly causes a borrowed bill to levitate off his hand and undergo a series of elegant maneuvers that subtly cancel out any possibility of thread work. In the right hands, the magician can effortlessly dance with the bill having it descend all the way to the ground and then back up through his awaiting hands. It practically flies in every direction and even plays with the spectators for a brief moment. The bill gradually loses its vigor and drops into the magician's hands where he can immediately hand it out for examination. Ammar's technique obviously constructed by a careful, methodical professional who believes in strong, visual magic.

...And yet I firmly believe that the illusion presented above is a highly forgettable one. Granted, it will always be a crowd pleaser-- audiences will always be surprised and respond with applause and laughter, but I feel that they all too often go home at night and easily forget about the miracle they witnessed. Why? Because despite it being one of the strongest and most visual close-up illusions on the market today, as a stand alone effect, it sucks. It needs and craves the performer to back it up.

Step One: Planting the Seed of Emotion
"When was the last time you wanted something that you couldn't have? It could be anything-- Think about the car of your dreams... or the girl you wanted in high school. Just fall back on that memory of you wanting something to happen so much but never following through. Really remember it... and picture what could have happened if things were just a bit different-- if you believed you could do something a little bit more about it..."

The above introduction instantly plants a seed of desire in a spectator. It should be delivered with a hint of awe so that the spectator can let down his guard and feel as though you can relate to his personal experiences. Have him speak a little if he wants to share. Get him involved with his personal thoughts and memories. In a moment, he'll apply this thought to the effect and allow a simple dollar bill do something miraculous.

Step Two: Anchoring the Emotion
"For me personally-- I remember sitting in class just wanting time to fast forward. It was so slow and so boring, I wanted so much to just get out of that room and get outside. I was so focused on wanting time to fast forward, I didn't realize that [snap fingers] it was even possible."

This is a Derren Brown theory as discussed in Pure Effect. At the pivotal point in the effect, the performer triggers an anchored emotion he sublty put in the mind of the spectator. In the example above, I used the idea of something being possible with a snap of my fingers. Theoretically, when I snap my fingers again at the crucial point of the effect, the spectator will instantly be taken back to the idea that something is possible. This NLP idea is very important.

Step Three: Involving the Spectator
"Watch. Confidence is key. I understand that this may sound absolutely absurd, and I fully agree-- but I want to test just how much is possible in the world we know. I have five dollars with your name on it... as long as you do as I say and make it move using nothing more but that memory of yours. Do you understand?"

This small, friendly wager does several things. It primarily urges the spectator to cooperate with you and take the effect seriously. For five dollars, a lot of people would do anything you ask. I understand that five dollars is five dollars... but I'm sure you've spent the money on things less important.

It also catches the spectator offguard. They're so focused on the wager and offhand claim, that they automatically dismiss the use of threads. Why-- as a magician-- would you even do such a thing? No money's ever free... If you could simply attach a thread to the bill to make it float, then why would you offer to give the bill away? It makes the patter logically more sound. It pressures the spectator to believe in the miracle.

Step Four: The Magic
"I want you to take a deep breath and hold it for as long as you can. Think about the last time you wanted something to happen so much but couldn't do anything about it. Think about willing this money to move... and it's yours. Think about the last impossible thing you wanted to make happen... Think about what you wanted... And as your breath runs out, envision the possibility coming to life... Just imagine... [Long pause until the spectator releases his breath. Snap your fingers and point at the bill. Another long pause. Silence. The bill begins to move. It hovers an inch off your palm for five seconds and drops down into your hand]

This is where the theatrics come in. The moment before the actual magic happens should have tension and controversy. It should encompass the conflict of the emotion at hand. It should generate a problem trying to be fixed. And once you have the tension-- let it build with silence. Let it linger... let it make people uncomfortable. The snap the fingers-- hint that it's possible to simply move the bill... and make the bill float a few inches off your palm. Less is more. The lower the levitation-- the more subtle it is-- the more realistic, and believable it will be. Do all this while being quiet. Let the bill descend, and slowly... give it back to the spectator. Let him bask in this moment of mystery and glory. You'll see astonishment on his face. It's a much deeper reaction than the typical obsenity or sudden scream. It will most likely be a quiet, nervous look...

"Thank you. You did it. You did it..."

Walk away with the bill in his hands. If performed correctly, he'll most likely remember the experience for a long time to come.

Just some nonsense...
Ray.

[Seeker]

Very nice, I enjoyed the idea. I think there is alot of potential in this patter.

I wouldn't give up five bucks though. (smile)

I agree that it is hard at times to hit home with a spectator, and its important to try so that they can have that emotional experence.Silence is usually the best way to get that connection. Heck, you can't say anything wrong to ruin the mood if you don't say anything.

Good job at bring up key points. The snap is a good thing to point out. When you place sounds or specific motions in certain key areas, it TIES those areas togeather and you get a central theme. Its a great way to reach you climax and really grab their attention.

Good Post.
-Seeker

[k OZ mage]

Wow this sounds just like you took some pages right out of absolute magic by Derren Brown and called it your own. You even used the SAME exact effect he used and yet I see no credit to him and Absolute Magic Besides the one reference to Pure Effect.

[raymondsingson]

I actually just finished reading Pure Effect a third time around. That's what inspired this thread. Ha. I honestly haven't even read Absolute Magic yet. I attempted combining what I learned in Pure Effect with my own personal experiences and beliefs to write the post. But to be fair, I'll give the credit out to the performers who've inspired me intellectually.

Darwin Ortiz: Strong Magic -- Focuses on individuality and originality in magic. Emphasizes the importance of an effect in an overall routine to affect a spectator.

Jamy Ian Swiss: I met him personally in New York, and he introduced me to the idea of forgetting the flamboyant handlings for the Floating Dollar Bill. It's actually his idea to make the bill to make the floating very subtle.

Derren Brown: Pure Effect: Anchoring emotions. This may very well be the one technique that's enhanced my performances ten-fold. Awesome theory and out-of-the-box thinking. I cannot recommend this book enough. Looking at the post, I also took advantage of his idea to make spectator hold their breaths. He utilized this in a watch-stopping effect in Pure Effect. As I said-- this is an excellent book.

I will have to credit myself for using my own cash to accomplish the effect. I'd find it pretty surprising if Derren suggests doing the same thing. I came up with this idea originally for the Hundred Dollar Bill Switch. Jay Sankey pointed out how borrowing money only to give it back again is pretty pointless, so I've used my own cash for several money effects to great response. Expecially giving the bill away in the end. Additionally, I have a heavy background in theatre so I've always attempted seeing what made people tick onstage. This is where I learned about rising actions, etc...

I sincerely apologize to you and (more importantly) Derren if I unintentionally stole a theory from Absolute Magic. I unfortunately can't give him credit for the whole idea of this particular thread seeing as I haven't even read the book yet. As you can see, I've learned a bit from other sources to develop my own concepts-- I just wanted to share the wealth.

Take care.
Ray.

[burst]

Ray,

Whilst I find this to be a great article, I think your example is poor. Why float their dollar when you can float their ear ring, ring, charm, or anything else that most likely has some built in emotional draw? For me, the problem isn't that many effects could be better with a well written script, but there are so many throw away effects. The floating dollar is a stunning piece of magic, but when it comes to floating a borrowed object, it is bottom rung. As far as I am concerned, the floating dollar is one of those effects that would suffer by giving it a script that attempts to create an emotional pull. Some effects are better off just being visual. The reactions that David Blaine receives should be proof of that.

I know that you have recently become largely interested in Derren Brown, but look at what he is really doing, read between the lines. He didn't try to make the magic fit his performance style; he stopped doing a lot of magic because it didn't fit the character that he wanted to present.

Derren does a type of magic that can't really be done by Blaine, and vice versa. And some better fits certain venues than the other. They each took a different route to create astonishment, and neither were the first to do what they do (though, as far as I know, they are definitely the best). Some magic will be better remembered by having little to no script, others will be all the better by having a script such as the one you illustrated. Sadly, I don't think the floating dollar will fit in either, despite how elegant it is. Fact of the matter is, there are better things to make levitate.

Disregarding the fact that I do not agree fully with what you have stated, I think this is a fine article.

Thanks,
/paul f.

[raymondsingson]

Burst--

Touche. Very good point(s), I have to admit I'm stuck and do not have a rebuttal. Ha. I supposed I've simply been playing with Swiss' variation of the Floating Bill a lot recently, and I wanted to incorporate a script to around it. The point of the thread was really to allow members to see how a script can enhance an illusion. I offered my own personal way of performing the effect, and while I understand it won't fit everyone's taste-- it does fit mine, and I've used it to great success.

I wasn't attempting to emulate existing icons; I was merely trying to produce new life from the insight they've already given to the magic community. Likewise, I was also trying to stress the importance of acting within an effect and staying in character. I see so many people not doing so, and in my opinion, it belittles a lot of perfomances without the individual's magician's knowledge. My thread was supposed to act as a buffet of sorts... for members to pick and choose the knowledge and theory they wanted but ultimately reflect upon their own styles and quality of performances.

Take care,
Ray.

[burst]

I wasn't attempting to emulate existing icons; I was merely trying to produce new life from the insight they've already given to the magic community. .

I didn't think you were. I see perfectly well that you are not trying to become the person that influences you, but that you are trying to incorporate the ideas and reasons behind what it is they do that create that impact.

Likewise, I was also trying to stress the importance of acting within an effect and staying in character. I see so many people not doing so, and in my opinion, it belittles a lot of perfomances without the individual's magician's knowledge. .

I didn't pick up on this in your initial post, but a very good point, it is; something I completely agree with as well. For the most part, I think a person's personality can flow from the serious of the moment to becoming light hearted. But there are certain things that need to remain funny, sinister, dark, good natured, etc. Take Banachek's Knife Stab for example. Would he really crack a joke if the danger were real? I think the reactions would sky rocket if the effect was taken more seriously. Once I have the tools, I plan on doing Becker's Russian Roullette. You can bet that there won't be a single moment where I let that tension get away. I want it to build so much that even I believe what I am doing is the real thing.

My thread was supposed to act as a buffet of sorts... for members to pick and choose the knowledge and theory they wanted but ultimately reflect upon their own styles and quality of performances..

And this is why I thought that it was still a good topic.

/paul f.

[Lucian]

Ray,

I love your (Mr. Brown's) theory on this. It is nicely organized in the minds of the spectators. This brings me to point out this. Your spectator will get what they give to the effect. If they just watch some crappy ACR, even if they sign their name, they won't have anything into the effect, and will get nothing out of it.

But, if they input an emotion, and granted, one important enough to remember and acknowledge, they will have invested something in this effect. And you can expect them to get more out of it when that element is in your magic.

I loved reading your thoughts.

Houdini

[MitchellStafiej]

Raymond, I am a fan of all of your articles.

I totally agree with every single one of your points you made, it is very important to connect with your audience even before you start performing magic is incredibly necessary.

Great post Raymond.

Mitchell

[nightshade]

I really liked this article. It made me think. Great writing.

[Stranger]

Actually, In Absolute Magic, Derren talks about the Floating bill and suggests doing it with a ring instead, because he asks the woman to fall back on a pleasant memory attatched to that ring. She completely envisions that memory. Once she's done that, Derren has her focus on seeing a glow move from her and encompus the ring, whcih is now on his hand. He tells her to let the felling spread and start to move. On this word the ring twitches. Soon he tells her he wants her to know what it is to have her spirit soar. The ring floats. It's very powerful, then hands it back to usually hear a thank you.

[Stranger]

sorry I didn't put this in the first post, but i had to leave that computer.

Alternatively, if the woman has no ring, he has her write I word that reminds her of a happy memory. I suppose he would perform with the regular FDB handling, but the same presentation, where he has her put so much emotional energy into the magic that its impossible to not recieve a very emotional response. But also, Derren gave an accurrate decription of the memory and at the end, the note rises, and Derren said that the woman "burst into floods of tears". This is because of all the emotional energy she invested, prior to the actual effect. Her emotion became the cause to the effect.

That concept is what a good deal of Absolute Magic is about.

[mchelchr]

Wow, this is a really informative article, and moreso, a really informative thread. I was kind of taken back to see the first two posts on it not be "Great article Ray." And theywere just as constructive as the fist.

With that, I have a question. for the anchoring concept, say if one ewas to anchor an emotion to a finger snap per the example, and use the finger snap in something repetitive such as an ACR, would the anchor loose base and loose its potency, or would it remain fast? Perhaps' I'm better off rereading Brown's work, as I may have skipped over something, but maybe somebody here can answer it.

-Chris.

[Stranger]

With that, I have a question. for the anchoring concept, say if one ewas to anchor an emotion to a finger snap per the example, and use the finger snap in something repetitive such as an ACR, would the anchor loose base and loose its potency, or would it remain fast? Perhaps' I'm better off rereading Brown's work, as I may have skipped over something, but maybe somebody here can answer it.

-Chris.

No. i don't think it would. It might just change. But if you use a snap as an anchor after the acr, it might be harder to make it effective.

Actually if you think about it, using the snap as a magical moment might actually lend the ambitious card some of its potentcy, because the snap will become an anchor, and eah time it rises it will be a little stronger.

[Nass]

Wow.. this is fantastic article- I'm glad I'll read this. Using these theories you could do a basic ambitious dl, put the deck in their hand and using all this stuff create a miracle.

Thanks for this!