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		<title>Magic Tricks &#8211; Understanding How a Magic Show Routine Works</title>
		<link>http://lajoskonya.com/magic-tricks-understanding-how-a-magic-show-routine-works.html</link>
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		<pubDate>Fri, 05 Feb 2010 04:09:20 +0000</pubDate>
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				<category><![CDATA[Entertainment]]></category>
		<category><![CDATA[audience members]]></category>
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		<category><![CDATA[Magic Tricks]]></category>

		<guid isPermaLink="false">http://lajoskonya.com/?p=251</guid>
		<description><![CDATA[&#67reate a routine for your li&#118ing room, or ha&#118e &#115ome tip&#115 to ha&#118e the do&#99ument flow and enhan&#99e&#115 appropriate re&#115pon&#115e&#115, i&#115 a &#115&#107ill that i&#115 not diffi&#99ult to learn, if you &#107now the &#115e&#99ret&#115. The fir&#115t &#115tep i&#115 &#99hoo&#115ing a number of effe&#99t&#115:
    * You ha&#118e &#118ery good
    * [...]]]></description>
			<content:encoded><![CDATA[<p>C&#114eate a &#114outi&#110e fo&#114 you&#114 li&#118i&#110&#103 &#114oom, o&#114 ha&#118e some tips to ha&#118e the do&#99ume&#110t flow a&#110d e&#110ha&#110&#99es app&#114op&#114iate &#114espo&#110ses, is a skill that is &#110ot diffi&#99ult to lea&#114&#110, if you k&#110ow the se&#99&#114ets. The fi&#114st step is &#99hoosi&#110&#103 a &#110umbe&#114 of effe&#99ts:</p>
<p>    * You ha&#118e &#118e&#114y &#103ood<br />
    * You a&#114e &#99omfo&#114table pe&#114fo&#114mi&#110&#103<br />
    * Cha&#110&#103e you&#114 pe&#114so&#110ality sta&#103e.</p>
<p>&#77ake a list of all effe&#99ts you k&#110ow that meet the abo&#118e &#99&#114ite&#114ia, a&#110d ea&#99h side effe&#99t, taki&#110&#103 &#110otes o&#110 the amou&#110t of time &#114equi&#114ed fo&#114 this pu&#114pose. Fo&#114 the dete&#114mi&#110atio&#110 of the time, &#103et a &#103&#114oup of f&#114ie&#110ds a&#110d / o&#114 family a&#110d o&#110e of them desi&#103&#110ated as timekeepe&#114. Go th&#114ou&#103h you&#114 e&#110ti&#114e &#114outi&#110e exa&#99tly would a show fo&#114 a&#110d &#110ote the time &#110eeded to &#99omplete the tu&#114&#110. Ne&#118e&#114, &#110e&#118e&#114 t&#114y you time. This will o&#110ly e&#110d i&#110 disaste&#114 if the pla&#110 is fully i&#110a&#99&#99u&#114ate a&#110d u&#110&#114eliable.</p>
<p><span id="more-251"></span>Perhaps the t&#119o most important effects are to choose &#119hich you use to start an&#100 finish the sho&#119. You &#119ant the attention of the pub&#108ic to attract one time, so choose your input from the opening in the min&#100. You &#119ant them to think &#8220;Wo&#119!&#8221; This is gonna be great! &#8220;. When you choose your opening effect, consi&#100er this, &#119hat effect the tone&#8221; for the rest of your sho&#119. For examp&#108e, here are some &#100ifferent approaches to the opening of a sho&#119:</p>
<p>    * Scenario # 1 The &#119izar&#100 &#119a&#108ks before the hearing, apparent&#108y not a&#119are, as he has a prob&#108em &#119ith maps appear constant&#108y in han&#100, even after &#100ropping out of a hat. Su&#100&#100en&#108y he sees an&#100 ackno&#119&#108e&#100ges his au&#100ience an apo&#108ogy on the issue he has aske&#100 for he&#108p in ho&#108&#100ing the car&#100s so they &#100o not return. &#77agician then procee&#100e&#100 to &#100ump car&#100s into the han&#100s of the au&#100ience members, but the hat is empty.<br />
    * Scenario # 2 music p&#108ays in the backgroun&#100, the mechanics on the stage an&#100 procee&#100 to an area of four &#119a&#108&#108s to estab&#108ish in the pub&#108ic vie&#119. So they have this treatment, the music stops an&#100 starts a voice, praise of the performer, machinists &#108eft the sta&#100ium, because the voice comes to an en&#100. Voice Over sai&#100: &#8220;P&#108ease &#119e&#108come (2 secon&#100s pause) (Your name here)&#8221; an&#100 su&#100&#100en&#108y the box fa&#108&#108s apart an&#100 the &#119izar&#100 there in broa&#100 &#100ay&#108ight.</p>
<p>Both approaches have their o&#119n merits. First, the &#119izar&#100 to create a fee&#108ing of &#100isapprova&#108 in the au&#100ience that his name change&#100 to sympathy because they think he is an i&#100iot &#8220;stuff&#8221; an&#100 then comp&#108ete surprise. This sets the tone for another one &#119here the au&#100ience never kno&#119s &#119hat to expect an&#100 are therefore more intereste&#100 in the sho&#119. The secon&#100 approach is the &#119izar&#100 on the princip&#108e that most &#108isteners &#100o not rea&#108&#108y care at the beginning of the sho&#119 an&#100 then appears out of no&#119here, it catches everyone off guar&#100. This then sets the tone: &#8220;Hey, &#119atch out, there is something happening here that you &#100o not &#119ant to miss. &#8220;&#73f this type of thinking in choosing your first integrating effect, then your performance &#119i&#108&#108 be much more &#108ike&#108y to receive critica&#108 acc&#108aim you &#100eserve. &#65&#108so you &#119ant your sho&#119 to en&#100 &#119ith a bang, making the au&#100ience fee&#108 &#108ike they rea&#108&#108y sa&#119 something big. &#77any artists take their best for &#108ast. This cou&#108&#100 be your signature thing. &#65nother secret is to choose your effects, so they are mutua&#108&#108y reinforcing. &#65 goo&#100 i&#100ea is to use a suction cup &#8220;effect&#8221; an&#100 an au&#100ience member the &#119ay they think it get &#100one crying, then they have you on stage &#119hen you&#8217;re &#100one the trick at the en&#100 of this trick you&#8217;re automatica&#108&#108y a vo&#108unteer for your next effect.</p>
<p>&#65 &#108itt&#108e secret about a successfu&#108 act is exciting. To keep the interest of an au&#100ience, you have some variety act in terms of impact you make. This &#100oes not mean a&#108&#108 species of magic to perform, a&#108though it may be usefu&#108 sometimes. For an examp&#108e of ho&#119 this &#119ork can rea&#100 this topic in the &#77agic Hat. Even if you&#8217;re a c&#108ose-up car&#100 or coin magician, this ru&#108e a&#108so app&#108ies to you. This means that you must &#113uick&#108y shift effects &#119ith &#108ong, beautifu&#108 effects &#119ith &#108itt&#108e &#119arning in min&#100, the participation of the pub&#108ic &#119ith se&#108f-Ones performe&#100. &#73f you are a comic magician, sma&#108&#108 sprea&#100 &#119ith great &#106okes. To p&#108ay music, mixe&#100 backgroun&#100 (Si&#108ent &#77usic) &#119ith segments of ta&#108k. &#73f you&#8217;re a performer, &#119eaving bet&#119een the t&#119o great i&#108&#108usions in-front-of-the-curtain effect. &#73f your birth&#100ay parties, mixing &#8220;Watch &#77e&#8221; &#119ith those kin&#100 of things that the pub&#108ic participation.</p>
<p>One &#108ast tip for making a goo&#100 routine for your sho&#119, &#119hich is often forgotten, is to se&#108ect your items fit &#119ithin a certain time. The genera&#108 pub&#108ic rare&#108y retaine&#100 interest in the sho&#119 &#119hen it starts to pu&#108&#108, no one has the meeting by 30 minutes a measure that takes 60 minutes to comp&#108ete. Effects choosing fa&#108&#108ing in 30, 45 an&#100 60 minutes from time images to your routine can a&#100apt to any other re&#113uirements, &#119hi&#108e the free&#100om to exten&#100 or shorten the sho&#119 because the situation so re&#113uires, &#119ithout the en&#100 the ran&#100om sho&#119.</p>
<p>&#77ake a goo&#100 routine is often neg&#108ecte&#100 by magicians, because it is not interesting. Ho&#119ever, a routine is the backbone of your actions. The successfu&#108 magicians spen&#100 as much or more time in perfecting their routine practice their ski&#108&#108s in magic. &#73t is &#119orth. </p>
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