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Socrates

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The cards are removed from the case, shuffled and cut, a world of infinite possibilities awaits us. Less is more. One card is chosen, remembered and rediscovered. This is the game we play.
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RayJ

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Reply with quote  #2 
So when there is more, is it due to the desire of the magician or the spectator?  What drives it?
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Socrates

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These days my approach is more organic. Each situation is unique. I like to discover and uncover. Sometimes it is nice to surprise one another. A holographic effect where the fragment contains the whole. Less is more could pertain to the theme of our effects. A unified series of tricks rather than a disparate collection. Just a few thoughts to begin with.

As to who decides when there is more... now this is a brilliant question Ray.

Most beginners in the art of magic want to show you every trick they know. It takes a while before they learn how much is enough, and exactly how to leave their audience wanting more.

What drives it?

I guess it depends on who is performing, who is watching, and what it is... in my experience this is more of an intuitive thing. Those of us who have performed for a lot of different people over the years know that each person will have a different reaction to our tricks.

It's like Cinderella taught us, one size does not fit all...
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RayJ

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There is a tendency among some to add layers and layers on tricks.  Sometimes it helps elevate an otherwise "pedestrian" effect into something remarkable.  Other times, it just causes confusion and the spectator doesn't even know what the trick was supposed to be.

Vernon twisted aces and they turned over.  Not satisfied with that, others caused the backs to change color, caused the aces to find a previously-selected card, caused the faces to become blank, the faces to become mirrors and caused the 4 aces to morph into a royal flush.

Were these an improvement?  Or did more become less?
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Socrates

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Simplicity is key in my approach... like the Japanese archer choosing to fire a single arrow, you'll either hit the target or not. As ever it is about knowing yourself and what you wish to achieve.

What is your reason for performing a particular trick? This is always a good question to consider. There are many great tricks out there that I have learned but will never perform... some tricks resonate with me, others do not.

My preference is to take a regular, borrowed if possible, deck of cards and perform something that is simple, direct and to the point.

Producing four aces from a shuffled deck is one effect I almost always do. Most everyone who plays cards would like be able to do such a thing, and even those who do not play card games understand the power of the effect...
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arthur stead

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Quote:
Originally Posted by Socrates

My preference is to take a regular, borrowed if possible, deck of cards and perform something that is simple, direct and to the point.



This is my preference too, Socrates.  I can’t think of a better way to amaze people.  

When you use your own cards to perform miracles, there’s always the chance that people will suspect you’ve got gaffed or marked cards.  But by using their deck, you eliminate any such doubts.


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Paco Nagata

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That's the best way to begin making yourself know as a card magician; only using borrowed decks.
If you began by using your own deck, people would suspect about your own deck ALWAYS.
However, if you begin by using borrowed decks again and again, when you take your own deck people would NOT suspect about it, since they may be used to considering that you can do good magic with ANY deck.
Moreover, you can dissimulate more by adding "extra" cards to a borrowed deck!

Yes, less is more when you make the most of the less.  

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Andrew

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Reply with quote  #8 
Quote:
Originally Posted by Paco Nagata
That's the best way to begin making yourself know as a card magician; only using borrowed decks.
If you began by using your own deck, people would suspect about your own deck ALWAYS.
However, if you begin by using borrowed decks again and again, when you take your own deck people would NOT suspect about it, since they may be used to considering that you can do good magic with ANY deck.
Moreover, you can dissimulate more by adding "extra" cards to a borrowed deck!

Yes, less is more when you make the most of the less.  



Hi, Paco.

I remember reading a Harry Lorayne post - might have been here, actually, I can't remember - where he said the same thing. I think he said that he had heard a woman, who had been handed a deck after a performance so as to allay her suspicion that it was a trick deck, say: "how would I know if this is magic or not?". The point being, it's impossible to convince someone that your deck is genuine if they suspect it's not. This may or may not be true, but I guess using a borrowed deck negates any suspicion that that is how the trick was done. I guess it's akin to Darwin Ortiz saying he always rolls up his sleeves. It removes the possibility in the minds of the specs that he had it up his sleeve.

Andrew
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Paco Nagata

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Hi, Andrew!

Thanks for the remark!

I have always thought that the secret of Harry Lorayne's success in card magic is to have worked hard on trying to create an impromptu version of everything.
I consider as well that Dai Vernon worked very hard on this aspect.

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Socrates

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Reply with quote  #10 
Meir Yedid made mention of interactive effects in his recent lecture. His exact wording escpes me but he got me thinking how personal interaction means less magic is required - Harry Lorayne seems to blast through the tricks in his performances, but he's a fast-talking kinda guy - personally I like the idea of doing less for more, and communicating interactivity with your audience/spectaors and volunteers allows you to do so.
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RayJ

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Reply with quote  #11 
Quote:
Originally Posted by Socrates
Meir Yedid made mention of interactive effects in his recent lecture. His exact wording escpes me but he got me thinking how personal interaction means less magic is required - Harry Lorayne seems to blast through the tricks in his performances, but he's a fast-talking kinda guy - personally I like the idea of doing less for more, and communicating interactivity with your audience/spectaors and volunteers allows you to do so.


In the past on this forum I have made this same observation.  Sometimes I will link a video and point out how long a single trick took and how long it might have taken the magician to actually get into the effect.  One example, I believe, was Michael Vincent.  I probably have the numbers wrong, but the idea is the same.  He came "onstage" and probably 3-4 minutes later began the actual trick and by about 8-9 minutes from the beginning he had finished his first effect.  It works, but you have to know how to make it work.  You have to have a personality that wants to connect and a persona that makes them wish to connect back.

Some come by it naturally, others can improve on what they have.  
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