The Construction of Adaptive Scripts
With the current E-Day in full progress and whilst I wasn't asked (how rude!), I decided to release this article for discussion. Whilst I won't go over script components (this would probably require a full volume to discuss), I wanted to explain and discuss the use of dynamic scripts.
One of the most common misconceptions when someone mentions 'script' is that of a magician following his dull and rehearsed lines without further consideration of the situation and oblivious to the reaction. Consequently, the majority of amateur magicians (to which many videos can readily attest to) feel that they are more suitably equipped by being impromptu and invariably results in a risky or even greater catastrophe.
With this in mind, how can one make a script that is both structured yet improvised?
By researching the acts/routines of your favourite magician, one can notice the repetition of the same routine in countless situations but yet manage to adapt accordingly and with great charm. Whilst the concept is not new, it is something that has yet to be discussed on these forums (especially with the growing interest on how to improve one's patter). So what are dynamic scripts?
They are the illusion of an impromptu discussion yet retaining the importance of a structured script.
I will return back to adaptive scripts in a moment but first I need to focus on a starting point that will ease into the above. The principal error when one begins to learn the scripting of their effects is that they will sit down in front of a word processor and start typing to their hearts content. They will try to force lines, regurgitate existing material and generally become disheartened by the futileness of it all.
This is where one of my favourite tools come in: a digital voice recorder. To fully realise who you are, begin recording yourself during all times of the day. One can begin to notice key things on how they describe/explain events and their daily interactions. You are given a plethora of useful information on how best to represent yourself to potential spectators nor will you feel that you are portraying a fictional character.
With this is mind, one can start to write a personalised script. I won't cover personal rhythm as it would require far more detailed articles but let us assume you have now constructed a script which you are comfortable using. You may have noticed that it is relatively difficult to have a single sentence cover all situations. Instead, one should realise that by utilising multiple single sentences one can expect to readily adapt.
By establishing key-points within a script, one can become far more flexible and adapt their delivery to the situation whilst retaining key sections required to retain control and rhythm of the effect. I've attached an example to demonstrate the process I am describing: link
As can be seen, rather than using a simple linear structure I've instead opted to use flowcharts to best illustrate my routines. You should notice that although there are many variants and responses, it is possible to direct the sequence effectively and with the appropriate pacing. One can now achieve a far more 'freer' approach to their scripts but still have the confidence on a well-prepared script behind them.
Regards,
Stephen
Last edited by Stephen R. Morris; 04-14-2007 at 02:57 PM.
To be believable, you must first believe.
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