Hooks, Lines, and Thinkers

Ryan digs in to one of the biggest lies magicians tell... themselves. A critical look at the prominence of self-working tricks in the magic industry, and whether it might be a short-term gain for a long-term loss. Don't be a stout Uncle George!

Some magicians keep their distance from the magic community because of bad advice. Be it unwelcome, unwarranted, or unfounded there seems to be no shortage of shaky advice being thrown around. In this episode Ryan looks at the wisdom of advice, how it comes to be, and how it gets passed along. It's not all bad, though. There is a more productive way to work together and offer guidance.

Through every moment of a routine your audience's interest is rising and falling. If it drains away, you're in trouble. Are you maintaining interest, attention, and creating a desire to see what happens next?

Max Maven was a giant in magic, whose long shadow kept many in line. So, where does that leave us now?

In 1954 the Magic Circle presented the Hoffmann Memorial Lecture by Charles Harrison on "The Qualities of a Classical Feat of Magic." In it he suggests eight common features of a trick which make it a "classic." Not everyone is on the same page. In his introduction to "Magic By Misdirection" Dariel Fitzkee makes the opposite argument; that no trick is, in itself, "great." In this episode Ryan Pilling takes a look at both sides, and asks why any particular trick does or does not become immortalized as a classic of magic, including one curious trick which was once a regular feature, now lost to history. Corrections: The "Six Card Repeat" was originated by Tommy Tucker, not Tommy Windsor. (Windsor is known for inventing the Dye Box... which is different than the Die Box!) --- References: "The Qualities of a Classical Feat of Magic" - A lecture by Charles Harrison, published as a bonus supplement with the Magic CIrcular, August 1954. "Magic by Misdirection" - Dariel Fitzkee, 1945

A look at your personal style as a performer, as defined by your strengths, weakness, and limitations. Magicians generally tend to be all happy-go-lucky razzle-dazzle, but being yourself means bringing both the best and worst of yourself to the stage. Suggestions for further watching and listening: If you'd like to hear my favourite musical artist, John Hartford I recommend starting with his album "Aereo-Plain." https://www.youtube.com/playlist?list=PL2sh1eP4JA_O-HkoIOrRiiGJTzjPd4W-l Alan Watts speaking about Wu Wei, the principle of not forcing. https://www.youtube.com/watch?v=ZzaUGhhnlQ8&t=635s Jazz pianist Kenny Werner speaks about "Effortless Mastery" https://www.youtube.com/watch?v=pAZOamxuw5w Music used in this episode "Naptime" by David Benedict ...not John Hartford :) Three pieces played on the guzheng by Annie Zhou "Hidden Heart" by Lux Inspiria All tracks are licensed for use from Artlist https://artlist.io/Ryan-18742

The success of your magic show hinges upon your audience being ready to receive it. I have a four phase process I use to develop a relationship with my audience, maintain a positive mood, and roll out the red carpet for a magical evening.

Magicians strive to control every detail of a performance, yet the more you control, the weaker the magic becomes. What happens when you let more chaos into your presentations? How can you make your process feel more random?

In this episode we dig into what your magician character believes they are actually doing when they present magic. What is really happening to cause the magic effect? What does it mean when they snap their fingers? Understanding the source of your power will clarify your presentation, fill out your character, and make your show more interesting. Ryan explains the "Spectrum of Magicality," an indication of how much your character does, or does not, believe in magic. WIZARD - Knows magic, and knows how to use it. They command the mystical force to do as they wish. MYSTIC - Tapped into magical forces, but not in direct control of them. AGNOSTIC - Hasn't decided if they believe or not. SCIENTIST - May still experience the mysteries of the universe, but believes there is a rational explanation. JUGGLER - All about physical skill. There is no need for magic when you're this good at what you do. “Sources of Magical Powers” by Bill Fienning, The Linking Ring November 2001 (pg 70) suggests there are five ways in which a human may come to have magical powers. Studied arcane knowledge. Powers enabled through an object, material, or words. An object with power of its own. Power passed from a supernatural being. Contact with a mystical force.

Theory and Thoughts for Magicians will be a series of focused topic discussions about improving your magic performances. In this inaugural episode Ryan introduces a foundational belief in what it takes to become a unique, artistic magician. Why it's important to choose your own adventure in the magic world. The missing ingredient to the common advice; "be yourself."