Mentalism in a noisy place
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Mentalism in a noisy place
by colster_ » May 25th, '11, 12:57
Hi guy's
I just performed at a party where there was a band on stage, i was doing some walk around mentalism,but could only do two out of the five effects in my set due to the noise.I have performed in bars alot and have not really had any problems,but its hard to connect with people when theres loud music, im now looking for some visual mentalism, maybe on the lines of p.k, i use ultracincse alot which is perfect in those conditions. My style is psychic, so anything alone those lines would be great, i would really like a mindreading piece you could do when its loud, i tried to do a name and place routine but knowone could hear my instructions without me shouting in there ear!
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by pcwells » May 25th, '11, 13:38
This is exactly why I do mentalism on stage and more traditional visual magic for close-up bookings.
Not only does a spectator's inability to hear you and follow instructions leave most mentalism effects hanging in the air with nowhere to run, but even if the one person you're talking to can follow what you're saying, the rest of your audience, standing a few feet away, will be left clueless as to what's going on. And in a close-up gig, I'm always well aware that an effect should still play to a full table - and serve as a 'teaser' for neighbouring tables that you'll be getting to soon.
I'd recommend that you add metal bending into your repertoire, as it puts no pressure on the audience, and they can understand what's going on, even if they can't hear a word that's being said.
The same applies to most PK effects.
As for mindreading stunts, in a noisy close-up environment... I've thought about this a lot. And decided that sponge balls are much more sensible.
pete
Not only does a spectator's inability to hear you and follow instructions leave most mentalism effects hanging in the air with nowhere to run, but even if the one person you're talking to can follow what you're saying, the rest of your audience, standing a few feet away, will be left clueless as to what's going on. And in a close-up gig, I'm always well aware that an effect should still play to a full table - and serve as a 'teaser' for neighbouring tables that you'll be getting to soon.
I'd recommend that you add metal bending into your repertoire, as it puts no pressure on the audience, and they can understand what's going on, even if they can't hear a word that's being said.
The same applies to most PK effects.
As for mindreading stunts, in a noisy close-up environment... I've thought about this a lot. And decided that sponge balls are much more sensible.
pete
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by dup » May 25th, '11, 17:32
I'll be honest, mentalism without hearing anything sounds horrible to me. From my experience, the spectators don't like it either.
If I had to do something like that, I would probably go for either -
1. Very visual metal bending.
2. Card tricks with a very obvious mentalism orientation. Finding a card using muscle reading, for example (fake of course, since you can't even instruct them on it).
If I had to do something like that, I would probably go for either -
1. Very visual metal bending.
2. Card tricks with a very obvious mentalism orientation. Finding a card using muscle reading, for example (fake of course, since you can't even instruct them on it).
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by Vanderbelt » Jun 8th, '11, 12:09
There's already been a somewhat extensive thread on this subject here: http://www.talkmagic.co.uk/sutra387673.php which should give you some ideas to think about.
As you mentioned your approach is that of a psychic then I'd be doing myself (well, my ego) an injustice if I didn't highlight my own advice given in that thread..
As you mentioned your approach is that of a psychic then I'd be doing myself (well, my ego) an injustice if I didn't highlight my own advice given in that thread..
Vanderbelt wrote:.... if you really really really want to 'do' something in such an environment then I'd go with a reading. Depending on your persona, a palm reading would be ideal or if you're more the body language kind of person then you can tell them you've noticed a few things that they've been doing/how they've carried themselves etc. which has already told you a great deal about them.
And here's the lovely bit; because you're in a noisy environment you need to get in close, whisper their reading even. When I do this, I keep a polite amount of physical contact, taking their wrist gently in my hand in a muscle-reading-style 'grip' with the other hand on their shoulder.
Delivering their reading in this manner achieves a number of things. Firstly, they can hear what you're saying and the slight physical contact creates an atmosphere of intimacy, what you're telling them is for them only, it's deep and it's personal. This is how we tell secrets to people after all.
In addition, it also adds a sense of wonderment for those watching. They don't know what you're telling your participant, all they see is nods and agreements from them.
At the end, take a step back and invoke a bigger reaction. Ask (suggest) them that what you just said was bloody amazing, "That was pretty amazing huh? And I just got that from <insert bs>"
Voila, they've just had a great reading and their friends are amazed too without even knowing what's occured. Furthermore, they'll be talking about you. "What did he say, how did he know" etc. and that will promote interest in you.
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by Gary Jones » Jun 8th, '11, 22:56
Flashback, drawing duplication, p#### wallet, Duality, Coinvexed 2, Psychokinetic Time, ESP card prediction, combination lock, 7 keys, pulse stop, pseudo muscle reading, Hypno Card, pseudo hypnosis and a few mental card effects, these are some of the effects I can do in those noisier environments.
Oh yes, and sponge balls!!!
Gary Jones.
Oh yes, and sponge balls!!!
Gary Jones.
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Re: Mentalism in a noisy place
by Samba » Sep 19th, '11, 01:35
Well if you insist... but why perform there ? anyway, thats another subject. To answer your question:
A swami number prediction
Think of a card, its the one I just placed my pocket ........ or, an I.D.
Metal bending would be ideal for that situation.
A swami number prediction
Think of a card, its the one I just placed my pocket ........ or, an I.D.
Metal bending would be ideal for that situation.
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Re: Mentalism in a noisy place
by Craig Browning » Sep 19th, '11, 20:48
Actually this is why MENTALISM IS NOT A WALK AROUND ART FORM. 
I don't mind being a strolling Reader that uses a hint of Mentalism gags as an early evening warm-up just to break the ice, generate some word of mouth and thus, end up with people seeking me out for their Reading (it's amazing how many of them don't want to get left out).
In my mind walk around Mentalism cheapens the craft though there are a couple of exceptions to that rule for me; using "close-up" demonstrations is one of the cleanest, least suspicious methods going for getting pre-show work done. My friend Jon Stetson uses this approach and to tell you the truth, I can sit around and watch him working the room for hours, he's so good at it. Under this type of setting you aren't usually having to deal with loud music but rather Muzak and light conversations around an evening meal -- very casual!
As I've said, the other scenario centers on building a bit of intrigue that allows you to generate "business", be it people coming to a corner for a Reading experience or building a tip for a Sidewalk Pitch Act (similar to busking but deals more with moving a product or service such as the old Astrology Pitch or selling "your" books, etc. )
Moving from table to table mutilating perfectly innocent flatware, fanning cards in people's face, etc. simply says "I'm a Magician" NOT that you or your talents are something unique/special or "real"
I don't mind being a strolling Reader that uses a hint of Mentalism gags as an early evening warm-up just to break the ice, generate some word of mouth and thus, end up with people seeking me out for their Reading (it's amazing how many of them don't want to get left out).
In my mind walk around Mentalism cheapens the craft though there are a couple of exceptions to that rule for me; using "close-up" demonstrations is one of the cleanest, least suspicious methods going for getting pre-show work done. My friend Jon Stetson uses this approach and to tell you the truth, I can sit around and watch him working the room for hours, he's so good at it. Under this type of setting you aren't usually having to deal with loud music but rather Muzak and light conversations around an evening meal -- very casual!
As I've said, the other scenario centers on building a bit of intrigue that allows you to generate "business", be it people coming to a corner for a Reading experience or building a tip for a Sidewalk Pitch Act (similar to busking but deals more with moving a product or service such as the old Astrology Pitch or selling "your" books, etc. )
Moving from table to table mutilating perfectly innocent flatware, fanning cards in people's face, etc. simply says "I'm a Magician" NOT that you or your talents are something unique/special or "real"
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