by seige » Jul 6th, '05, 10:51
Dunno why we're whispering, actually.
There... that's better.
Now, on topic... I was going through some old notes last night, and I discovered that I'd written a rather lengthy (me, verbose? Never!) thesis on Patter which was intended for my NUMS book... but, here's the basics...
1. Effects such as Colour Monte would be absolutely impossible without patter
2. Other effects, such as Ambitious Card, actually can benefit from no patter, because they need no explaination
3. Audience participation effects are almost totally reliant on patter
4. Patter forms a strong foundation on character building for many magicians, as it reflects their personality
5. Patter is natural misdirection
6. The basic premise of a story behind an effect can link two effects together, making a routine
7. In the hands of a good storyteller, patter can create an ambiance and atmosphere which would otherwise be impossible (Eugene Berger, Derren Brown, Andy Nyman, etc... all very theatrical)
So... the topic... 'what makes good patter'... the original question...
Well, good patter is something in my opinion that engages the audience and draws them into the effect. You don't simply have to give a running commentary—that's absolutely not the way to go.
A good, well structured effect with patter will have a well thought out script. You should practice the timing of the effect in conjunction with the patter. I have covered this topic before, using Ambitious Card as an example of an effect which speaks for itself (i.e. needs no patter), but by adding patter, the effect takes a new twist.
When I write effects, I usually start with a concept... i.e. I want an effect which will make a spectator's card appear under their drinks mat. Then, I will work out the mechanics of the effect, and then the patter.
However, sometimes, I will start with a storyline, and fit the effect to the story. i.e. a tale of a gambler who sold his soul to be able to deal himself a perfect poker hand every time.
Patter should be:
1. Relevant to the effect
2. Within the character constraint of the performer
3. Engaging and with meaning
4. Paced with the effect itself
5. Well scripted, and rehearsed... it's bad enough if you make a mistake with the effect, but EVEN WORSE if you make a mistake with your patter (i.e. "And look the Joker jumps to the bottom. Oh, sorry, I meant, the Joker is on the bottom, the King is on the top."
6. If you are uncomfortable performing the patter which comes with an effect, change it. Be creative, think outside the box.
I think I will shut up now, my fingers are aching...
(seige hears applause, and someone shouts 'thank goodness for that')
)