Category Archives: Theory
RESPECT (Thanks to Scot Grassette and Aretha…)
My buddy, Scot Grassette, owns a performing arts venue up in Rumford, ME and has been performing for decades. 49 Franklin Reception Hall and Mystic Theater (http://www.49franklin.com/) was a former church and has been lovingly transformed into a cultural center with … Continue reading
Seeking advice
I participate (well, mostly lurk) in many online magic forums where “magicians help magicians” (more on that later). This morning, I responded to a request from someone looking for information on a particular effect. Now they weren’t looking for the … Continue reading
Choices & Process
The summer of 2014 has been a remarkable one for me as a performer. I have traveled more frequently, presented more (and varied) programs and had the opportunity to work with people whose work I respect. Even though I post … Continue reading
Five feet of influence…
Writing about Patrick Page in my last post made me think about the other books that have influenced me. I’m talking about the books that I periodically return to, again and again, to refresh my interest, to inspire me to … Continue reading
Aesthetics: Communication without Words
It’s been a busy summer so far with performances in at least three styles (contemporary, vaudeville & renaissance work) and it got me thinking about how important the artistic choices you make in selection of costume, props, equipment, scenery and … Continue reading
Grace under Pressure
“Everything in the labor of Art amounts to one thing: the difficult should become customary, the customary easy and the easy—beautiful.”—Constantin Stanislavski Here is an excellent representation of that ideal… And another televised performance:
Buying Magic
When I performed strolling in restaurants, I would occasionally borrow a dollar, transform it into a hundred, transform it back and return the one to the volunteer. Why did I do this? Because if I didn’t, it seriously cut into … Continue reading
Truth and Responsibility
All too often we deceive ourselves more than our audiences. We think that if we go through the steps involved to make the trick work that our audience will be as entranced as we. It is easy to lose sight … Continue reading
Character
Some are quick to discount a routine as ineffective if it doesn’t get a strong response in the first few attempts. The lack of a response is often not attributed to lack of practice or focused presentation, but a failing … Continue reading
Written in Stone
The longer you perform material, the more it becomes you, and the more you can focus on the details of performing and your relationship (and communication) with your audiences. If you are a conscientious performer, over the lifetime of a … Continue reading