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My walkabout set consists of 3 effects lasting about 4-5 minutes, my table magic is 3-4 effects that will last 7-8 minutes, always leave them wanting more.

you have had some terrific advice, on the last few posts, so you shouldnt go far wrong if you take their advice.

Steve

An issue many magicians have is they tend to over perform. Magicians love magic and just want to put it all out there. One effect after another, one applause after another. Its a drug. But you have to also know when to stop. A key rule amoung performers of any art is the old saying, "Always leave 'em wanting more"

As for how long to wait between effects? Your best bet is to learn a routine to string the effects together. Leave time for reactions but make sure the routine flows. Like Tony said in an earlier post on this thread, once they start discussing the effect amoung themselves. Once they verbally start to try to figure it out, you have lost them.

It all boils down to your personality and the reactions. Everyone is different.

bmat wrote:An issue many magicians have is they tend to over perform. Magicians love magic and just want to put it all out there. One effect after another, one applause after another. Its a drug. But you have to also know when to stop. A key rule amoung performers of any art is the old saying, "Always leave 'em wanting more"

I'll agree with this. Magicians love magic, normal people normally only like it (or love it but not in the same way). As a result although you may enjoy busting out your best moves, it will just run on in their minds. Even magicians don't enjoy watching other magicians run on for half an hour showing off. At least that's what I gather.

Just a thought, perhaps you should have a friend follow you and film you perform next time you go to the pier, it will make it easier for people to give pointers. When are you next going to the pier to perform, maybe I'll pop down.

soveda wrote:Experience today- I was stopped in the street by a group of lads because I was practicing my contact juggling, I think they probably wanted to make fun of me, and they said "that's magic" which was my cue to get a fork out and do the second phase of liquid metal. I left them with the bent fork staring at it and perplexed and went on my way. I certainly wouldn't have done another effect to break that mood!

I didn't want to make a new thread but I wanted to give an update on this post.
I was walking through town again today practicing my butterflies and circles and one of the lads who watched the liquid metal routine ran up to me asking if I had a fork on me. I did but instead I did a couple of simple sponge ball effects (two in the hand one in the pocket and multiplying sponges) for them which left them smiling and still gobsmacked. (they look 17-20ish) Afterwards they went on there way saying " can you do the fork next time". Now that was an ego boost! Slightly reversed street magic mind you, I'm sure it's usually the performer chasing spectators!

When I'm performing, whether it be formally or informally, I encourage applause. Without a set or act that melds into a cohesive story, the only thing that allows me to move forward smoothly without any awkwardness is a break for applause. Even in informal situations, particularly in larger groups, people can and will often applaud you, especially if you cue it. In smaller groups, forget it... Two or three people applauding would be embarrassing for everybody. But, in those instances, I usually perform more personally and intimately, so structure is less of a concern.

Michael Kras wrote:When I'm performing, whether it be formally or informally, I encourage applause. Without a set or act that melds into a cohesive story, the only thing that allows me to move forward smoothly without any awkwardness is a break for applause. Even in informal situations, particularly in larger groups, people can and will often applaud you, especially if you cue it. In smaller groups, forget it... Two or three people applauding would be embarrassing for everybody. But, in those instances, I usually perform more personally and intimately, so structure is less of a concern.

A good way if subtly encouraging applause is to acknowledge their reactions with a "thank you", and as you say this, you bring your hands together in front of you and clasp them together at chest height for a beat before letting them hang at your sides. This natural gesture produces a clap like sound, and the audience often respond the the que without even noticing it.

spooneythegoon wrote:

Michael Kras wrote:When I'm performing, whether it be formally or informally, I encourage applause. Without a set or act that melds into a cohesive story, the only thing that allows me to move forward smoothly without any awkwardness is a break for applause. Even in informal situations, particularly in larger groups, people can and will often applaud you, especially if you cue it. In smaller groups, forget it... Two or three people applauding would be embarrassing for everybody. But, in those instances, I usually perform more personally and intimately, so structure is less of a concern.

A good way if subtly encouraging applause is to acknowledge their reactions with a "thank you", and as you say this, you bring your hands together in front of you and clasp them together at chest height for a beat before letting them hang at your sides. This natural gesture produces a clap like sound, and the audience often respond the the que without even noticing it.

I'll remember this spooney!!!

Much love

Aza

You might want to think about a technique from NLP called nesting.

in its simplest form you
start performing A
break off to start performing B
break off to fullly perform C
return to B
return to A

If A is your strongest effect, C your weakest then you are hitting them with increasing strength impossibilities. and you always have a reason to keep returning back through the levels to conclude your performance.
A good reaction to C and you wait a few seconds then do a 'where was I, oh yes...." and return back to B.
A luke warm reaction to C and you go straight back to B without waiting.

You can see this nesting effect with a lot of good comedians. they start telling a story, break off to another story and keep some thoughts dangling until they come back to their orginal story. Ronnie Corbett's ramblings from his chair and Ross Noble's stage shows are brilliant examples of this technique.

Too often I see magicians perform a series of single effects with nothing to link those effects. They perform something, put it away, get something else out their pocket then ask "would you like to see something else?"

IMHO Nesting, finding linking themes and using 'running gags' make for much more interesting performances.

Oh nesting sounds a brilliant idea! *takes notes*

I shall have to try that out, thank you!

A truely a great piece of advise from Mr Discombobulator there. That is the whole reason why the confabulation routines always receive such a great reaction. The honourable gentleman, Mr Derren Brown is a wonderful person to watch if you want to see this in practice.