جادوی قوی

Improve your performance Good for all stages of skill Easy to Perform Easy to learn Back in Print! Why is it that some magicians get great audience reaction while others who are just as skillful leave audiences so cold? The answers are in Strong Magic, the first -ever book on showmanship specifically for the close-up magician. As a successful professional magician for almost twenty years, Darwin Ortiz has appeared before thousands of audiences of all kinds. During that time he has studied what it takes to really move an audience. In Strong Magic, he presents the results of those years of study and experience in a way that every magician can benefit from. Do you want applause, gasps and praise? Do you want your performances to be talked about and remembered? Strong Magic tells you how. You already own countless books on card and coin manipulation. Here is a book on something far more important: audience manipulation. Not a dry, boring treatise, it's funny, fascination, exciting reading. Not a book of vague theory, it's loaded with countless examples and concrete techniques that you can put to use right away to give your magic more impact. These are the real secrets of close-up magic--and they are all in Strong Magic What People are Saying: "The book is readable, it's extremely clear, it's clear, it's thrilling in its intellectual adventure. And it's also, clearly, enormously practical. It makes you think. It enriches you as an artist (and therefore as a human being.)" - Juan Tamaris' wonderful, wonderful book filled with practical advice. It should be every serious close-up worker's next purchase." - David Williamson Says "A thought-provoking analysis of the performance of close-up magic. Just reading it was motivating. I incorporated some of Darwin's suggestions in to my presentations the same day I read them. Highly recommended to the serious student of close-up magic." - Paul Gertner. Front Dust Jacket ......Page 1 Dust Jacket Flaps ......Page 2 Contents......Page 7 A Hand of Cards–A Game–A Book(Juan Tamariz)......Page 17 Introduction:Showmanship As Technique......Page 19 Memorable Magic......Page 21 The Magical Experience......Page 22 The Challenge Attitude......Page 24 The Puzzle Mentality......Page 27 The Illusion Of Impossibility......Page 28 2. Reaching The Emotions......Page 30 Intellectual Vs. Emotional Belief......Page 31 3. Narrative Art......Page 32 Part One:The Effect......Page 34 The Goal Of Clarity......Page 35 Interpretation......Page 38 Selection......Page 39 Easing The Audience's Burden......Page 40 Clarifying Techniques......Page 43 The Expository Phase......Page 58 Degrees Of Conviction......Page 60 Emotional Memory......Page 61 Deteriorating Conviction......Page 65 2. Conditions......Page 67 Identifying Important Conditions......Page 75 The Must–Believe Test......Page 76 The No–Contact Condition......Page 78 Dramatizing Conditions......Page 81 Accidental Convincers......Page 89 Incidental Convincers......Page 90 Why Convincers Work......Page 91 Does Anyone Notice?......Page 95 Weighing Pros And Cons......Page 97 What Is Suggestion?......Page 99 Prestige......Page 100 Atmosphere......Page 105 Reinforcement......Page 108 Desire......Page 109 Planting Suggestions......Page 110 Negative Suggestions......Page 112 CHAPTER FOUR:SUBSTANTIVE MEANING......Page 113 Gambling......Page 114 Grifting......Page 118 ESP......Page 119 The Occult......Page 121 Magic......Page 122 Money......Page 125 Sex......Page 128 Me......Page 129 Universal Experience......Page 138 Surrealism......Page 144 Subtext......Page 148 The Inherent Meaningfulness Of Magic......Page 155 Credibility......Page 156 CHAPTER FIVE:SITUATIONAL MEANING......Page 160 Conflict Against Spectator......Page 161 Conflict Against Machine......Page 163 Conflict Against Imaginary Character......Page 164 Essential Elements......Page 165 Optional Elements......Page 176 Avoiding Pitfalls......Page 177 Conflict Between Spectators......Page 188 Other Conflicts......Page 192 Risk......Page 193 Failure......Page 196 Magic Happening To The Spectator......Page 199 The Intriguing Statement......Page 203 The Intriguing Question......Page 204 The Spectator Question......Page 205 The Inverted Question......Page 206 The Intriguing Prop......Page 207 What Is Progression?......Page 209 Intrinsic Progressions......Page 212 Artificial Progressions......Page 214 3. Surprise And Suspense......Page 216 Twist Endings......Page 217 Kicker Endings......Page 220 How Much Surprise?......Page 227 What Is Suspense?......Page 228 Mystery–Curiosity......Page 229 Conflict–Uncertainty......Page 239 Tension–Anticipation......Page 242 Milking Suspense......Page 249 Combining Suspense Elements......Page 254 End On The Climax......Page 257 Unresolved Suspicions......Page 258 Extended Climaxes......Page 259 Anti–Climaxes......Page 260 Simultaneous Climaxes......Page 265 Underselling The Climax......Page 268 Part Two:The Character......Page 272 Character vs. Magic......Page 273 Character And Effect......Page 275 Character And Audience Interest......Page 277 Why You Need A Character......Page 279 Finding Your Character......Page 280 Reconciling Character And Daily Life......Page 284 CHAPTER NINE:CONVEYING THE CHARACTER......Page 286 What You Wear......Page 287 What You Say......Page 290 What You Do......Page 297 What You Use......Page 300 Exercises......Page 302 The Elements Of Style......Page 305 Developing A Style......Page 307 Working At Your Style......Page 312 Style As A Conscious Act......Page 313 Considerations Affecting Style......Page 315 Naturalness In Style......Page 316 Part Three:The Act......Page 319 CHAPTER ELEVEN:STRUCTURE......Page 320 The Opener......Page 321 Build......Page 323 The Closer......Page 325 CHAPTER TWELVE:UNITY......Page 327 Theme......Page 329 Motifs......Page 333 Theme......Page 336 Dramatic Structure......Page 337 CHAPTER FOURTEEN:THE INFORMAL PERFORMANCE......Page 339 Part Four:The Audience......Page 342 Magicians And Consensus Reality......Page 343 The Blind Leading The Blind......Page 344 Commercial Sense......Page 345 Feedback......Page 346 Debriefing......Page 348 Performing Experience......Page 349 What Is Timing?......Page 352 Timing In Sleight Of Hand......Page 353 Timing In Misdirection......Page 355 Timing In Patter......Page 356 Learning Timing......Page 358 What Is Pacing?......Page 359 Pacing In Magic......Page 360 Pacing And Patter......Page 361 Pacing And Business......Page 367 Pacing And Audience Participation......Page 371 Striking A Balance......Page 373 3. Tempo......Page 374 Planned Spontaneity......Page 377 Induced Responses......Page 378 Special Effects......Page 382 Audience Interaction......Page 384 Situational Meaning......Page 387 Mapping The Route......Page 389 Tools Of Attention Control......Page 391 Directional Misdirection......Page 393 Intensity Misdirection......Page 396 Distractions......Page 398 CHAPTER NINETEEN:AUDIENCES......Page 400 Attention Span......Page 401 Size......Page 402 Magicians......Page 407 The Importance Of Assistants......Page 409 Qualities Of A Good Assistant......Page 410 Who Chooses?......Page 412 Choosing An Assistant......Page 413 Getting Them Up......Page 415 The Psychology Of Heckling......Page 418 Theorizing......Page 421 Challenging......Page 422 Grabbing......Page 425 Interrupting......Page 427 Getting Nailed......Page 428 Practice And Rehearsal......Page 430 Screw–Ups......Page 433 Unforeseen Distractions......Page 435 APPENDIX ONE:DARWIN'S LAWS......Page 437 APPENDIX TWO:GLOSSARY......Page 440 Back Dust Jacket ......Page 446