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SHOWMANSHIP
For
MAGICIANS
CHAPTER FOURTEEN
When it is said that an act or a show is efficiently paced, what is meant is that there has been a nice discrimination of time. It means there are no waits, that the interest does not sag and that there are no dull moments. That proper timing is in evidence as to the periods allotted for the respective units, that the units themselves display discrimination in timing. It means that the act or show moves swiftly, without delays, from begin-fling to end.
We have made repeated references to punch.
It may be defined as the creation of a forceful, striking impression, meeting the full approval of the audience, in such a manner that there is involuntary, favorable reaction from the audience. This reaction is invariably shown in a quick storm of applause. But usually accompanying it is some other type of expression in keeping with the emotion aroused. This may be laughter, whistling, gasps, cries of approval, shouts - or, if the reverse is desired, even disapproval. Punch is an explosion of emotion, caused by the built-up circumstances of the entertainment. It is an explosion that responds to the climax in the manner intended by the entertainer.
Such punches are obtained through many things. It may be a surprise. It may come from a sudden twist in circumstances that meets with audience approval. It may be caused by admiration for superlative skill, or as the result of a daring effort. Or the punch may be caused by a sudden, overwhelming comedy development. It may be a response through some appeal to emotion. Perhaps it comes as the result of a thrilling passage of music.
In order to get punch, it is necessary that the emotions of the spectators be built up to the exploding point. That is one reason why the routine must always build up to a definite climax to which you have pointed from the beginning. That is why unity and economy are necessary in the routine. You stick to the subject and do not allow anything to distract or delay the constant pressure towards the ultimate smash.
And how can one accomplish such a smash?
By building up to a superlative degree the qualities already enumerated in this work.
The Rockettes secure smash by coordinated effort and a sensational exhibition of skill. The coordinated effort is in violent action. The skill is shown in the precision and training which results in some thirty-six girls performing as a single unit in unbelievable uniformity of rhythmic movement. Notice how many appeals the Rockette smash stresses, beauty, color, grace, music, precision, rhythm, coordination, skill, sex appeal.
If you can combine those appeals, simultaneously, in that degree of intensity, you, too, will acquire punch.
The presentation of the Doll House illusion, as explained, brings punch. This is a combination of surprise and a sudden comedy twist. But also underlying it is the beauty of the girls, sex appeal, and music.
It is often remarked among professional magicians that magic acts do not seem to get the punch and do not make the smash impressions that dancing, singing, comedy and other acts get. Might it not be due to the fact that the magician does not build up to a climax containing as many appeals?
According to present-day magic standards, what is the appeal the magician reaches at the conclusion of his turn? Bewilderment? Surprise? Skill? Comedy?
Aside from these few, and rarely are they together simultaneously at the conclusion of a magic act, practically none.
The strongest appeals are invariably to the instincts, not to the mind. When you appeal to the mind, thought is necessary and sometimes reflection. To convince the mind, argument is necessary. And sometimes an argument is lost.
But the responses caused by our instincts are subconscious They are involuntary. These instincts must respond to the appeals to them because we are constructed that way. That is why rhythm, beauty, skill, sex appeal, coordinated effort, physical action, harmony, melody, comedy, movement, youth, personality, romance, sentiment, nostalgia, surprise, situation, character, conflict, music secure reactions almost automatically. The response comes almost before we think. It is a subconscious response, a reaction to an instinct to which we are attuned.
Therefore, the securing of punch rests upon building up to a group of instinct appeals to a superlative degree, not to bewilderment. That requires thought. Not to puzzlement, that requires though as well. But to surprise, to comedy, to skill and couple this with as many of the other instinct appeals as possible Put in music, coordinated effort, physical movement, rhythm, color, beauty, sex appeal and any of the others possible. Use as many of these as you can. Build them up to as strong a degree as possible.
We combined coordinated action, music, color, movement, rhythm, nostalgia and many other appeals in the finale to our big show. And it invariably brought forth the results of a smash.
You can do this deliberately. You can start the planning of your act or routine with the smash climax first and work back-wards. Don't leave any thing to chance. It isn't intelligent. Deliberately incorporate the ingredients to make punch at the climax. That's the way they all create punch.
There are several minor matters that warrant further discussion before we take up specific applications of showmanship. Among these is the acquirement of grace.
This is an ease of attitude, an ease of action and an ease of posture. An ease of attitude comes from ease of mind. It is the child of confident knowledge and a sense of well being. Nothing contributes more to this than a thorough knowledge of your routine and adequate rehearsals. Know your act is good and know that the audience will like you. This will bring graceful attitude.
Graceful actions are those movements, in harmonious curves, which convey no suggestion of stress or strain. Graceful posture shows no stress or strain. Grace is a matter of confident muscular control, of deliberate, timed actions. Some coaches suggest that the performer imagine he is in water and make all movements slow and graceful as would be necessary in moving about in the liquid. Whether this trick will fit your temperament or not, you need not worry about graceful movements if your movements are made calmly, without violence or jerky motions, in smooth efficient curves. The trick is to be calm and confident.
Effortless skill is almost identical.
The well-rehearsed movement, which is within the physical capabilities of the performer, made without worry or without signs of physical strain, is a smooth one. Many magicians make serious mistakes when they attempt manipulative moves beyond their capabilities. There is no need for this. Keep your sleight-of-hand within your capacities. Make it look easy. If you have a small hand, don't try to use two-inch billiard balls. Use a size you can handle with comfort and confidence.
If you have a move of some character that you wish to use, don't put it into the act until you can do it well, faultlessly, without visible effort and practice it. If, after a period of time spent in practice, you are still unable to do it well, you would better forget it.
John Scarne, probably the possessor of the most skillful pair of hands in the world, once told me many magicians make the mistake of trying to do a sleight or a move in exactly the same way someone else does it. He pointed out that all hands are different. Then he went on to show me how some moves are possible in one man's hands, whereas because of physical differences they are impossible with the hands of another. Perhaps a too faithful adherence to another man's method may be your trouble.
It is far more effective to do a sleight or a movement that is easy for you to do, one that requires no worry or physical strain on your part, one that you know you can do well, than it is to try to feature the most complicated sleight in the world if it means possible failure, worry or difficulty. Spectators like to see exhibitions of skill. But they like them to seem easy for the performer.
Surefire material is material that has been audience tested time and time again. Surefire methods are those which have been proven effective repeatedly over the years. Certain tricks such as the passe bottles, egg bag, linking rings. WITH THE PROPER PRESENTATION, have been known for years as surefire magicians' material.
Whenever a director has any doubt as to the ultimate reception of an act or a production, he interpolates certain material he knows will be surefire. This helps to carry the show.
Spectacle is a good old standby of the showman. It is principally masses of people, movement, violent action, strong colors, loud music and excitement. It is an ingredient within the capacities of certain types of magic shows, and to a lesser extent may be employed even by lone performers. Of course, the lone performer cannot provide masses of people. But he can use movement, violent action, strong colors, loud music and excitement.
More than one act and more than one show have been saved by resorting to this expedient. I must confess we resorted to it in the finale of our big show. And it worked, most effectively.
Perhaps you can try it. But let me warn you, I don't think it is quite enough, alone, without incorporating some of the other appeals in other portions of your routine.
Contrast is a showman's way of adding emphasis. Just as white looks whiter when contrasted with black, so should the fast and slow be counterpoised. If you want to emphasize loudness, immediately precede it with something extremely soft. The silent number stands out better in contrast with a talking one.
Contrast brings variety, and diversity is a stimulant to interest and attention.
Use contrast intelligently.
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