As a magician it is super important that you are ready and able to impress a potential client at a moments notice. So that means you must always have something magic related on your person at all times. Now I completely understand that some magicians may disagree with this statement. As some will say that that you should be able to use what is in your surroundings to perform magic with. While others might say that if they aren't getting paid, then why would they want to perform. I'm not trying to start a debate on whether you should or should not carry magic at all times, but rather I am speaking for the majority of magicians who like myself believe that if you want to impress someone you need to be prepared, and that means you must have magic with you at all times. Personally, I believe I should have 5 tricks with me at all times, plus the ability to use what is in my surroundings as well. So I would like to discuss some of the tricks that I carry with me, and what other magicians carry with them on their person at all times.
The reason I choose to carry 5 tricks at all times is so that I can perform a mini show at any given moment and I'm set and ready for any situation.
Here are my top 5 choices for magic tricks that I can perform as close-up (or) as a parlor sized routine with no notice what so ever.
#1.) Kollasal Killer - This is a great routine that will allow you to not only be able to predict any thought of card by a spectator and that card is inside of your wallet. This is a great trick in itself. But it's also perfect to have any out for any given mistake made for a card trick. As a magician we've all experienced a moment where something goes wrong...and if the card you thought you had control of suddenly isn't where you thought it was. You immediately can have it all come together as the chosen card is actually inside of your wallet. The only downfall to this is it does take up quite a bit of space inside your wallet. Which limits how much else you can carry, and it requires you to have a very specific type of wallet to perform this trick.
#2.) Tornado Deck - Such a beautiful transposition effect that is extremely visual where a torn card switches places right before the spectators eyes. It takes up very little space as you only need 2 cards in your wallet for this. Now this one is one that costs you each time you do it...you can only do this trick 28 times before you need to buy a new deck. So I'm very selective on whom I show this to, but wow is it easy to perform and I will tell you it will knock the socks off of the spectators!
#3) CardNow App - There are so many great smartphone magic apps that you can use now, but this is one of my favorites because it allows me to leave my business card with the spectator in a magical way that isn't the cheesy back palm that most every layperson knows how is done.
#4) Deck of Cards, Smoke & a regular Sharpie - Depending on the audience, I will typically do Card-to-Mouth, But there is just so much you can do with this. I keep Smoke with me as well so I can make do card to mouth and make the smoke come out of my mouth, along with the signed mercury fold card. This just enhances the effect and makes for a bigger wow moment for the spectator.
#5) Extreme Burn 2.0 - Being able to turn 5 one dollar bills into 5 twenty dollar bills right before the spectators eyes (or it can be any other denomination I just prefer 20's). This one is GREAT as a first impression, but there is a time that I would not suggest performing this one. If you are a magician working for tips, this one isn't not going to help you since you can make money with magic, why would they bother to give you any of their money? If anything they will just want you to turn their 1's into 20's.
Next are a list of other magicians choices for their magic they always keep on their person at all times:
Ox Bender - Being able to use only one hand and have a spectators borrowed and signed coin bent in either their hand or yours. This is one I perform often and I highly recommend, I prefer using this at my events rather than as an everyday carry item, but I can see why other magicians choose this one for sure!
Finger Ring & Rope - This is a simple and effective routine that looks amazing...It's where a finger ring, borrowed is best (but you can use your own as well) and the ring will penetrate off of the rope, and it can jump onto an ink pen, sharpie, or a magic wand works too. I personally prefer to not carry around magicians rope with me at all times, but if the right opportunity is present I can always use my own, a friends, or a spectators shoe lace to perform this trick.
TT - Personally I like to also have a sugar packet with my TT so I can make the sugar vanish and appear inside spectators shoe for a killer effect that will blow their minds. But for me I prefer this to be in my paid performance not in my magic I perform when first meeting a potential client. The only real downfall to this is that the TT is so well known by most laymen. But regardless, they are always still very impressed because although they may know how it was done...but they didn't see it being done, and that blows their minds. So that just means you better have this one down if you are going to do it!
Magic with Large Finger Ring - Making it Vanish and Reappear This is super easy and also adds to your style as a magician. But I personally don't like wearing big bulky rings, so it's not something I like to perform.
Card2Phone App - This is such a great app that you can download for your smartphone which will allow you to insert TONS of random everyday objects inside of your phone and then magically make the item appear back to real life and disappear from inside the phone.
Scotch & Soda - This is perfect for pocket sized magic, sets up in seconds and your ready to wow the spectator...this works great for any age, but you really need to know how to sell this one with your personality. The trick is self working so long as you perform it correctly. I love performing this and following it with melting coin. So I take a half dollar and a Mexican centavo and turn that into a half dollar and a quarter in the spectators hands. Then I put the half dollar inside a plastic bag, have the spectator put the quarter into the bag on top of the other coin then pull the half dollar thru the bag without any holes being put into the bag. This really enhances this trick and makes it into a routine. But again I prefer to do this at paid gigs not as my everyday carry items.
So what is your everyday carry magic? What magic can you not leave home without? How has having these items effected your magic career? What audiences is best suited for each of the tricks you perform?
Leave your comments below.
Aaron Clark (The Amazing Ziggy)
David Blaine makes us wonder why is he still alive?
A list of celebrities David Blaine mystifies with his gut wrenching magic include: David Beckham, John Travolta, Johnny Depp, Steph Curry, Dave Chappelle, Drake, Margot Robbie, Patrick Stewart, Emma Stone, and more!
I’ve watched The Prestige enough times to know what magic really is—a combination of illusion, salesmanship, mystery, spectacle and, in this modern era, expert video editing. David Blaine does all these things well and also happens to be a con artist, braver and more bizarre than most of his peers. The one thing he excels at the most, though, is continuously getting people to wonder what the hell is wrong with him and how he’s going to die from this.
By even titling his special Beyond Magic, he suggests that the extraordinary things he does defy categorization and that’s his obvious first trick. The announcer in the intro immediately plays into it, claiming, “This is not only magic. It is the spectacle of the real.” Blaine survives off this wonderment, though he’s aware that most things humans experience can be explained by practical applications of things like math, science and logic, and so he uses them to grand effect as magicians do (the special also refers to him as an “endurance artist”). He’s also very weird and crazy.
Certain so-called tricks Blaine has done (eating glass, holding his breath for 17 minutes under water) simply require him to be bold enough to test his body limits and, more important, to learn techniques that allow him to do so. Others—catching a bullet—require a foolish level of audacity. The first trick he performs in this special (see the clip below) is swallowing wedding rings. He’s filmed doing it on separate occasions in front of celebrities and their family and friends, including John Travolta, David and Victoria Beckham, Sir Patrick Stewart, Margot Robbie and Emma Stone.
After swallowing the ring—and successfully freaking out the participants who momentarily think their ring is gone forever—Blaine shows them his empty mouth and later grabs a wire hanger to retrieve the ring. He asks all the celebrities to pull out the hanger from his mouth. “You want me to pull that. Okay,” slurs Johnny Depp. Somehow, the ring appears on the wire and everyone either screams or stares blankly. “That’s ridiculous,” says Beckham.
There are questions: How did the ring get on the hanger? How much time passed in between when Blaine swallowed the ring and when he obtained the wire hanger? Where did this hanger come from? Why does everyone he performs the trick for somehow have a wire hanger? ’Cause I don’t! Who has wire hangers?!
There are explanations, but I don’t know, and the point is that people pretend to want answers but few of us actually do. We all know by now that Blaine’s appeal—and magic in general—isn’t about the magic itself, but rather stupefying people into believing what the magician is accomplishing is real. That Blaine has duped people into believing he’s a sorcerer is the real trick, from a person who’s learned to become alarmingly good at deception. I love it. Toward the beginning of the special, Blaine video chats with Jennifer Lawrence and does a card trick, after which J. Law further sells his magic skills by telling him he can’t die and, “If you started a religion I would follow it.”
Throughout this special, we learn a bit about Blaine’s process, which consists of deep research and consultations with medical experts who advise him over and over again not to do all these wild stunts, though he never listens. When he talks in his frightening monotone voice about a magician named Mac Norton who called himself a human aquarium, the point is that Blaine wants to learn this, too. “He had the ability to contort his stomach into a home where creatures could live and bring them up on command.” Blaine says he’s spent 10 years trying to “figure out his secret.”
In the special, we see him demonstrating that part of this trick is “overriding the gag reflex,” and he proceeds to get training from a sword swallower. It seems that Blaine has learned because after this segment, he performs a routine where he regurgitates live frogs in front of a group that includes Drake, Dave Chappelle and Steph Curry. They’re all flabbergasted. Knowing that Blaine has learned to swallow swords helps us to understand this and also the hanger trick earlier, but only a little. But anyone who doesn’t know or see any of this background would be like, what the fuck.
The main event of this special and of Blaine’s career so far is the bullet catch, which he did in 2009 in front of a live audience at the MGM Grand Arena. “The deadliest feat in magic is the bullet catch,” Blaine tells us in the special, adding that 12 magicians have died and they were only faking it. He’s doing it FOR REAL, using a mixture of science and fearlessness. “There’s no margin for error,” he says in a voiceover, making sure to sell how dangerous it is. When his friend, who plays the role of the distraught doubter in his circle, asks a good question—Why is he doing this for real and not just faking it—Blaine says, “’Cause it wouldn’t be fun.”
So we see scenes of Blaine at the dentist preparing a mold to help him catch the bullet. And his friend says, “If you do this stunt and you die, it’s the opposite of inspiring the person.” Blaine makes it through and lives, of course, despite having the bullet mouthguard break in his mouth twice. At the end, there’s a creepy convo between him and his friend about mortality and the fact that he might die on stage. “That’s not how I’m gonna die,” he says. “That’s not how I’m dying.” The special suggest there’s a chance he might, though, because it ends with this message on screen: “David Blaine plans on performing his bullet catch as part of an upcoming world tour.”
The one part of this special that freaked me out was Blaine’s mind trick with Margot Robbie. He tells her to think of a memory only she would know, something that Blaine can’t research, and then to find some random word in an article on her phone using search results. He ends up writing the words she’s thinking of (“bunny” and “numerous”) on her hand. There may be something Robbie said in a pre-interview that the show didn’t reveal to the audience, or a crucial portion they removed in editing. Either way, we’re left wondering if Blaine is now, in addition to being a weird magician, also a medium. And also, how is it that he hasn’t died yet.
@clovitoSenior Writer, Jezebel
Source: The Muse
Using a pack of plastic playing cards Paul Daniels takes a borrowed, lit cigarette is held against the back of one of the cards. The cigarette is then pushed slowly through the card-and it really melts through! From the other side of card the cigarette is completely pulled out! An adhesive sticker is then placed over the hole to "fix the damage." Removing the sticker, the card is seen by all to be totally restored!Naturally, the response from the spectators is to "do it again!" And you can, once again pushing the lit cigarette through the same card and then leaving the card intact and handing it out for examination!
Something every magician hates to hear when performing is: Do it again!
Paul Daniels came up with a great routine to do exactly that...so with this trick you can perform it a 2nd time and the spectator will be blown away both times, and the 2nd time you are actually allowing the spectator to do the work!
Paul Daniels recently passed away on March 17, 2016 from a brain tumor, he will always be remembered as a great magician that inspired so many and he will certainly be missed in the magic community.
Paul Daniels, who has died aged 77, was the most famous British magician of the past half-century. From an extremely modest background he rose by professional brilliance and sheer force of personality to become one of television’s leading figures in the 1980s. A small man of indefatigable cheeriness, he was a straightforward but astonishingly skilful performer who also displayed a highly developed flair for comedy; the combination of magic and witty chat took him to the pinnacle of showbusiness and earned him a fortune.
The producer of BBC1’s The Paul Daniels Magic Show in the 1980s, John Fisher, said: “Having worked with him on close to a hundred shows, I never ceased to be amazed at his capacity for mastering new and often technically complex material week after week, a challenge non-existent in the lives of the old masters of magic on the halls. Moreover, he displayed an instinctive ability to entertain in a way few of the great hocus-pocus giants have matched.”
He was born Newton Edward Daniels in South Bank, a small industrial town between Middlesbrough and Redcar in North Yorkshire, and for most of his early life was called Ted by family and friends. His mother was Nancy (née Lloyd) and his father Handel Newton Daniels, known as Hughie, who was a cinema projectionist.
Daniels often described a poor but warm childhood, filled with laughter, in a little terraced house with a lavatory in the back yard. “The one big thing I remember about Christmases then is that it was the only time of the year that we ate a chicken,” he wrote in his autobiography, Under No Illusion (2000).
When he was 11 he won a scholarship to the Sir William Turner grammar school in Redcar, and it was around this time that he started to become interested in magical tricks after finding an old book at a friend’s house. Daniels had discovered the perfect way to distract bullies and gain social acceptance. “This new art was an attractive antidote to my shyness,” he wrote, “and the insecure part of me had found a bridge to enable me to communicate with people in a way that I would not have found possible by any other means”.
As a teenager he saw the famous Australian conjuror The Great Levante at a local theatre, and he made his own first appearance as a magician before a smaller audience at a Normanby Road Methodist Chapel Youth Club show when he was 14. He wanted to be a professional from childhood, but this seemed a remote possibility, so when he left school he went to work for Eston Urban borough council as a junior clerk, while helping his father as a trainee projectionist in the evenings.
Called up for national service in the army when he was 18, he served in Hong Kong and, on the journey there, was entranced by a gulli-gulli man, an eastern magician, who came aboard at Suez. This encounter provided more material for the shows he put on for his fellow soldiers. After returning to his job at the council offices in 1959, he developed his magic skills at local clubs. Capitalising on the quick-witted ability to make people laugh while he amazed them, he also formed a comedy act with his brother Trevor. It was in this period that he came up with the catchphrase for which he later became famous, used initially to quell a drunken heckler: “You’ll like this ... not a lot, but you’ll like it.”
Daniels left the council and ran his own grocery business, for a time from a mobile van, while in the evenings touring his magic act with his wife Jacqueline (née Skipworth), whom he married in 1960, as The Eldanis. His professional breakthrough came in 1969, when he was offered a summer season at Newquay.
He made his first television appearance on ITV’s Opportunity Knocks in 1970 and, after extensive stage touring, was given a regular slot on Granada’s The Wheeltappers and Shunters Social Club, hosted by Colin Crompton and Bernard Manning, in 1974. The following year he was on The David Nixon Show, on Thames TV, prompting Clive James to comment in The Observer: “One of [the] guests was a very droll ‘unusualist’ called Paul Daniels, of whom one hopes to see more.”
And we did, of course. ITV gave him his own series, Paul Daniels’ Blackpool Bonanza, in 1978 and he made his first series for the BBC, For My Next Trick, the same year. This led to The Paul Daniels Magic Show, which ran on BBC1 from 1979 to 1994 and made him a household name.
Some of the tricks he performed were astounding – recreating the stunts of Houdini, for example, or making a television camera in a crate disappear while transmitting what the camera is seeing in real time. In all these performances he employed old-fashioned conjuring techniques, never resorting to using television technology to cheat or enhance illusions. He had a strict moral code on such matters and had strong feelings about the new generation of TV wonder-workers, much of whose impact is achieved by preparations carried out by researchers ahead of the recording.
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Paul Daniels and his professional and personal partner Debbie McGee in 1988. Photograph: Peter Lomas/Rex/ShutterstockBy now divorced from Jacqueline, with whom he had three sons, Daniels was the professional and personal partner of a former ballet dancer, Debbie McGee, always introduced as “the lovely Debbie McGee”, whose role as his assistant became a major feature of the act. The couple had been together for nearly 10 years when they married in 1988.
Daniels starred in It’s Magic at the Prince of Wales theatre from 1980 to 1982, London’s longest-running such show. In this newspaper Michael Billington wrote: “What makes him different from other magicians is his ceaseless sleight-of-tongue.”
He hosted several non-magic television series in the 1980s and 90s, including three BBC1 quizzes: Odd One Out, Every Second Counts and Wipeout. When the new breed of slick and toned TV magicians creating fantastical spectaculars, or – at the opposite end of the spectrum – televised street conjurors emerged in the mid-1990s, the rumpled and bewigged Daniels’s cosy banter seemed old-fashioned, and he went back to touring live shows with his wife while also working behind the scenes designing illusions for West End shows such as Phantom of the Opera, Cats, English National Ballet’s The Nutcracker and the film Return to Oz. He and Debbie did appear on Channel 5’s The Farm (2004), however, and ITV’s The X Factor: Battle of the Stars (2006) and Wife Swap (2007).
In late 2015, shortly before being diagnosed with an inoperable brain tumour, Daniels seemed content with his reduced status: “I’ve got so much going at the moment. We took this little tour out ... it all fits into the back of my estate car and that includes bits of scenery and props.”
He had travelled some distance from his glory days in the 1980s, but the admiring comment of the best-loved comedy magician of them all, Tommy Cooper, made when Daniels first burst on to the scene in the 1970s, still held true: “Paul Daniels is to magic what Muhammad Ali is to boxing.”
He is survived by Debbie and the sons from his first marriage, Martin, Paul and Gary.
• Paul Daniels (Newton Edward Daniels), magician and television entertainer, born 6 April 1938; died 17 March 2016
-Aaron Clark (The Amazing Ziggy)
Paul Daniels Magic Show - Cigarette Through Playing Card Close Up Trick BBC
Justin Sight Is A Blind Magician And He Is Very Good At Magic
he is truely a Sight to Behold
A Polish immigrant, Justin Sight performs magic on the street and in New York City subways to get by. He's also legally blind. And he's also really, really good at magic.
One Of NYC'S Best Magicians Is Blind & Wants To Show You "The Impossible"
by Jen Carlson in Arts & Entertainment on Mar 22, 2016 3:11 pm
Last year we met up with Justin Sight (real name Adam Jaslikowski)—a blind magician (suffering from vision loss from Stargardt macular degeneration disorder) who dazzles New Yorkers underground and elsewhere. Quarters floating in thin air. Markings appearing on your hand. Cards disappearing before your eyes. He's a real talent in the field, and a joy to watch.
And now Sebastian Mlynarski has released a 12-minute video after following the 25-year-old magician around the city—it features a deeper look into Jaslikowski's life, which started in Poland.
A critic on a blog post wrote something pretty interesting about this worth mentioning:
I can't help but thinking of The Prestige and the theme of how far magicians will go for their craft. I'm sure this guy's macular degeneration is real, but it's an intriguing idea to me that his greatest magic trick might be playing the role of someone with impaired vision in order to make his feats all the more amazing. Kind of like the old Chinese magician in the Prestige who affects a severe stoop and hobbled gait to enhance his stage act, which requires feats of strength and dexterity a person with such impairments wouldn't be capable of: as one of the characters notes, the real magic takes place offstage. Anyway, more power to this guy, I'm not trying to disparage him with my speculations, I love closeup magic and would take magicians over the mariachis (most of them, at least) and showtime dancers any day.
As a full time magician how many hours a week could you possibly work?
Well I personally work about 60-80 hours a week...now that doesn't mean I perform 60-80 hour a week. I typically work 3-10 events a week each event is 1-3 hours typically. So at most I am performing 10 hours...you the other 50-70 hours are spent driving to and from gigs, and the rest is spent working from home. Majority of my time is spent marketing, updating my website, blogging, writing contracts, emailing clients, and the remaining time is spent learning and practicing new magic.
There is a lot that goes on behind the scenes to be able to prepare for each performance I do. The show is constantly changing so that each time I perform clients always get to see something new.
How much material do you need to perform a magic show?
Well in the beginning you need to have at least enough materiel for 45 minutes stage and at least 20 minutes of roaming. But that will only get you by for about a year, then you have to change things up and add some new material and bigger tricks.
I have enough magic to perform 7 different magic shows with different themes. Each of my shows is 1 hour long. Then I also have enough close up magic to perform for 1 hour without doing the same trick twice, but that never happens! You repeat the same 5-7 tricks over and over for every roaming performance I have ever done.
So why have so much material? For me I need to be able to perform for many different types of events...the kids show magic isn't going to entertain the adults and vice versa. So I have to know my audience before I perform so I know what magic I should perform for them.
Do I need a script?
YES! One very most important parts of performing magic is coming up with a good script for you show!
Then videoing yourself and going back and tweaking the performance until you're satisfied with how it turns out. If you think you are just going to wing it, you are basically setting yourself up for failure. That being said you need to know your script inside and out, if you sound like your reciting dialog from your script and not telling a story that is smooth and flawless then you haven't practice enough and you shouldn't be performing for a live audience yet.
Like in movies, theater, or novels, in magic everything starts with something very simple: an idea. Ideas are the cornerstone of any art piece. In magic the path from the idea to the illusion is different from other arts.
No matter if you are working on a routine in card magic, coin magic, a manipulation effect, etc...ALL MAGIC including stage illusions to the simplest close-up magic, will all have the beginning idea as the starting point. An idea is much more than a set of linked effects which is something really powerful, but meaningless in its essence. Ideas give meaning and make magic bigger allowing it to become beauty.
Scripts are the tools needed for anyone who’s transforming an idea to the real world, to the stage, and achieving a goal to make it into an art form. Becoming a professional magicians is a natural evolution that happens in three phases: 1.) You begin performing a magic effects to family and friends. 2.) Create a story, magic involves a tremendous about of story telling to express an idea and share that idea with a beautiful effect. 3.) You need to learn how an audience will react to the effect so you can then mold the trick into a spectacular performance. There are many ways to achieve this but busking is my favorite method as I get to get tips for showcasing my newest trick that I want to add to my show.
Some questions you need to ask yourself when in the design phase of your new trick: Why this effect? Where in my show can I best perform this trick? What do you expect to happen with your volunteer? What is achieved with the effect? Does it have any meaning placed at that particular point? Does it flow well with your other tricks? Does it fit your style of performance? These are all questions that magicians have to ask themselves in the idea stage of the trick. By making a script magicians answer those questions which will help give coherence and meaning to the performances. Which in the end is what matters to the audience.
Let’s think about an example, how many times you’ve seen a sub-truck routine? Think about the ones you liked the most, how was that performance and the history behind it. When performing is not just about the technical level of the magician, it is about how a story is told in a performance.
Master the technique, learn the theory behind the art or magic, and most importantly learn how to make a script. Your Magic will improve because of it and your audience will certainly appreciate all of your efforts.
Salvador Calderon – a.k.a. Conde Magnum who is a semi-pro magician from www.magicshowbuilder.com
Salvador has the following to say about the importance of scripting for magicians:
Not that long ago, after reading "Scripting Magic" and "Maximum Entertainment," I decided that to improve my act and move to the next level of earnings I needed to begin writing scripts.
Unfortunately, I hadn’t written very much when I quickly ran into a problem. Keeping things organized was very hard. The truth is the whole thing quickly became a mess. I got confused easily, my acts started running together, my performance suffered and instead of growing my career it began to look like I was actually destroying it.
I needed to do something and I needed to do it fast. I could either stop writing scripts and basically give up any hope of growing my magic career … or I could find another solution.
Well, I definitely wasn’t ready to give up my dreams of being a successful magician so I began to desperately look for a solution to my problem.
The first thing that came to mind (besides being a semi-pro magician, I also work as an engineer in my day job) was creating some type of database that would allow me to catalog each of my acts so there would be no more crossover confusion.
But I figured finding a database program that would work for magicians would be impossible. However, I began to research the subject anyway, simply because I was desperate to find anything that might help me succeed as a magician.
But I found nothing. Well, I actually found a couple of magic programs that say they can be used for this purpose but both were very poorly done and in the end weren’t able to do what they promised. They were just a waste of money.
So I kept looking and just when I was about to give up I found Celtx, an open source scriptwriting software.
This software sounded promising. A few magicians that I talked to said they used it and that it did a lot of great things.
But unfortunately, I found the learning curve for Celtx to be HUGE. It is an incredibly difficult program to use and I didn’t have time to devote the hours and hours and hours a it would take to learn to use this program effectively.
In today’s busy world, who does? Plus, I also wanted to be able to keep my growing list of magic acts in YouTube videos and Celtx didn’t offer me this option.
So I went back to researching and looking … but again I found nothing … until one day I got so frustrated that I decided I would just create a program myself.
I figured I can’t be the only magician struggling to organize their acts. So I decided to tap into my engineer’s training and design my dream magician’s software and then have it programmed by the best professionals I could find. The result … MAGIC SHOW BUILDER
Here are some of the testimonies:
“'Magic Show Builder' isn't a very precise name for this magical software. It not only builds your show, it BUILDS YOUR BUSINESS! Keeping your material, show, and schedule organized will not only help to improve your show, but more importantly, help to save you a lot of trouble on the business side of your career. Highly recommend it!” -
“I don't want to recommend Magic Show Builder to anyone... It's just THAT good! You have to use it to know how effective it is in dealing every aspects of your magical art! Wow, it reminds me all the elements of a good magic piece, and I'm intrigued at the powerful system and organizer it serves to all the fellow magicians! Perhaps the pioneer in its field!” -
Perl, psychological illusionist, Taiwan Kaohsiung
“Magic Show Builder is a very useful tool for magicians or anybody else who is putting together a performance and needs to organize, search, and store information related to his work. If you have not yet figured out an efficient system for yourself, I recommend Magic Show Builder.” -
“Magic Show Builder helps every magician do what he should be doing to create a strong, clear and cohesive performance. Use this tool in conjunction with your scripting and rehearsal regime to be the best you can be!” -
John B. Pyka,
-Aaron Clark (The Amazing Ziggy)
There tends to be a big misunderstanding of the difference between close-up magic & stage magic. Most clients who want to hire me don't have a clue how vastly different the 2 types of performances vary and not only that but also in the amount of time that it takes to prepare a stage show vs. a close-up routine.
As a magician you have to practice your trade hundreds of time in front of a mirror over and over again before your ready to show your new trick to friends and family. This is the point where the routine starts to take shape in which you much have a plan for what will happen from one step in the process to the next. But more so than that you must have a back up plan out an Out as we magicians call it for when things go wrong. You see the beauty of putting on a magic show is that no one knows what is about to happen, so when things go wrong and every magician will tell you this the tricks don't always go as planned...but we ALWAYS have a Plan B, in which we can have another sinario to save us in any given situation. So we plan for failure and we also must practice the Plan B routine just as diligently as we did our Plan A. For 90 % of the time you will never see our Plan B...but there's always that 10% of the audiences who think they can outsmart the magician and try to mess us up, but they have no clue that we are way ahead of them and are ready at a moments notice for any debauchery they try to throw at us.
So what then is the difference between Close-up Magic & Stage Magic? And Can Close-up magic be performed on a stage and vice versa?
Ok, first of all closeup magic is what you will most often see a street performing doing. Mostly Magic using Cards, Coins, Ropes, Silks and everyday objects. Where Stage magic is the saw a girl in half type illusions, making someone levitate, live animal productions, dove magic routines, etc. all of which is what you would think of when you see Vegas Magicians. Now a Stage Magic Show requires A WHOLE LOT more work than a Close-up performance. It will also require a much larger rehearsal space, more people to practice with to achieve the desired illusions, building the illusions require much more time, money, and skills.
Not all closeup magicians have the ability to perform as a stage magician, or vice versa. The reason for this is some magicians don't have the dexterity required to do sleight of hand...where as some magicians don't have the stage presence, self confidence, and talent to be a stage magician.
I am proud to be both a close-up magician & a stage magician. This has required much more diligence on my part to master the skills of manipulation as well as the carpentry skills need to build my own illusions. Growing up with a family in the construction business certainly helped me to have the ability to build my own props and illusions for my shows. A closeup magician may spend a few hundred dollars for some closeup tricks but a stage magician spends a few thousand dollars on a single trick.
So now that you understand that I hope you will know why stage magicians cost so much more than closeup magicians.
Now to answer the question can a closeup magician perform the same routine on a stage...Yes, but it will require a Live TV Crew and a Projection Screen TV.
So can a stage magician perform stage tricks for closeup routines...No. And there are many reasons as to why but the biggest reason is angles...for street style performances there are people at every angle...but on stage you only have an audience in front of you, and many times this allows for the magic to happen.
I hope this helps you better understand the differences of the types of magic you can have for your next event and that you will keep The Amazing Ziggy in mind when that time comes!
#Zmagicshow #TheAmazingZiggy #CloseupMagic #StageMagic
-Aaron Clark (aka. Ziggy)
My Name is Aaron Clark and I'm know as The Amazing Ziggy. I've been a Professional Magician for over 20 years performing all over the US and internationally, but mostly for events on the east coast in the Atlanta Area.