talkmagic.co.uk

by **magicdiscoman** » Feb 1st, '04, 02:19

just an update on the thread regards transport, since getting a van i have found it very hard to get any kind if insurance for the carrage of disco equipment and magic aparutus.
aparently entertainers as a whole have found it practicaly imposible to get insurance, why we as a groupe are of such risk is beyond me but there you have it, iv'e managed to secure insurence which as we know is a compulsery poll tax at an exsorbantant rate but at least now i can carry my own goods.

please let me know if you have had similar problems or if you have an insurence agent thats kind to entertainers, cheers jason MagicDiscoMan.

oh by the way mines a vauxhaul bedford midi panel van 1993, if anyone can find a service manual for it i would apreciate it :shock:

by **Mandrake** » Feb 4th, '04, 12:23

I've just seen this TV programme advertised on Magic Week:

6.2.04 - Working Lunch BBC2 12.00 Noon

Magician Jason Fenn appears on BBC2's Working Lunch on Friday, February 6th, at 12 noon discussing the tax implications of being a part-time magician with one of the programme's financial experts. Jason will be performing some magic but is also happy to ask on air, on your behalf, any questions of a financial nature that you may have. Email jasonfenn.magic@virgin.net.

by **magicdiscoman** » Feb 4th, '04, 14:28

the bods at the job centre want to put me on a n in biz course as an entertainer so i will get all benefits and all advice needed to run a bussines for two years, with the profit set in trust for future advertising cool or what :!:

by **Mandrake** » Sep 9th, '04, 10:02

Sound advice from Mike Taylor originally in connection with working at Old Folks' Homes and minimising the possibility of the spectator spotting the moves or having time to think about them - http://www.talkmagic.co.uk/ftopic3366-0-asc-15.php. Very relevant to all other performances!

Mike Wrote:

First, learn to routine your material. If you do three or four effects in a logical progression, your audience won't have time to figure out how you did what you did. By routining your material, the strength of the overall grouping of tricks rises exponentially, which is exactly what you want. You simply don't give your spectators the chance to question what you've done or how you've done it before you are onto the next part of your routine. Much like cups and balls - when one ball disappears then impossibly reappears under another cup, the human mind accepts the vanish no matter how implausible it is. If you simply stop at the vanish, though, it is then that the spectators try to figure out how you made the ball vanish. This is important psychology to study.

As far as your audience not being able to follow instructions, this is your fault not theirs. Your directions MUST be clear and concise. The wording of your instructions must be in simple English and easy to follow. Keep in mind, it isn't communication unless both parties involved understand exactly what is being said. So, when giving instructions, without being condescending, you must make them simple and easy to follow - as if you were working with a 5 or 6 year old.

Further, this is a matter of audience control. This comes with time and experience. So, when you are having a problem with your spectator not following your instruction, pay attention to where you are going wrong. Later, sit down and work out a different way of instructing your spectator. Write the instructions down and study this part, learning your direction word for word in necessary - yes, this is work. But, if you're not willing to put work into this, then you should avoid any trick that requires this kind of magician/spectator give and take.

Mike.

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