WE come now to the dramatic element of a magical per- formance to which reference has been made in other chap- ters.
Let me define this as meaning the effect which a trick pro- duces upon the spectators.
This has much to do with the success and the artistic finish of a performance. The mere doing of a trick would fall flat without this dramatic element.
There are other elements, as we have seen, which consti- tute the trick's proper presentation, but even after acquir- ing mechanical skill, deportment, and suitable "Patter," the general dramatic effect has yet to be considered.
This should be so designed as to produce a pleasing en- semble .
personality, the selection of tricks, and the logical se- quence in presentation. We will take up the three divi- sions in detail. First, personality: There is a classic story of a Greek who, entering a room, came across a corpse lying full length upon the floor. He surveyed it for a moment in silent wonder. Then he stood the lifeless form upright and released his hold. Instantly the body fell forward with a sickening thud. Again he raised the lifeless clay to its feet and once more let go, Again the body fell, this time back word. Contemplating it a second time the Greek philo- sophically said, "It lacks something within."
How true this is of many people on the stage, in public and private life, everywhere. They are as bright as their fellows, better educated, perhaps, but no matter what they do, they are not convincing--they "lack something within," and that something is undeveloped personality. The man or woman who has personality--or call it personal mag- netism if you will--cannot but succeed, because they gain their desired point, make friends, are convincing through this subtile force that makes them masters of every situa- tion. Let me say right here, there is nothing that cultivates this necessary art--for it is an art--like the study of magic and its deportment.
Be something! Be somebody! Have an identity! Become known by some distinguishing mark; your smile, your graciousness of manner, the witiness of your "patter," your ease of manipulations--cultivate all of these--anything that will cause your personality to stand out, for everyone has personality.
What would the play of "Hamlet" be with Hamlet left out? How would the magnificent "Charge of the Light brigade" sound if read like a newspaper item? Just so a magical per- formance would fall flat--be devoid of the vital element-- unless the personality, the life and energy of the per- former sparkle and effervesce all through it.
The second phase of the dramatic element, has to do with your selection of tricks. This should be the subject of much care and thought. Build up your act, ever keeping the car- dinal points before you of sequence, and added interest and strength as your program proceeds.
Don't, above all things, purchase a lot of cheap rubbish and expect to be a magician. Remember, though, that the price of a trick cannot always be relied upon as expressing the value of the trick--some tricks are only made of one or two small articles, yet in the purchase of them you are get- ting the secret of doing the trick, which is the real value. Again, let me impress upon you the value of quality rather than quantity--get the best tricks that you can af- ford, and always keep them in good condition.
In making your selection for a program which you wish to prepare for a special occasion, or for permanent use, sev- eral things must be borne in mind:
(a). That you should be fairly proficient in each trick. (b). They should be sufficiently diversified to create vari-
ety, and yet fit ONE into the other--sequence;
(c). They should be adapted to the size of the room, or stage, and the character of your audience--whether juve- nile or adult.
After a short time your experience will avail you--your judgment will ripen--and your program naturally im- prove.
The last and most important element of the dramatic side depends upon the sequence of your tricks.
(a). These should lead up from a succession of simple illu- sions to the most difficult and elaborate. As an illustration of this might be mentioned the "Marvelous production of flowers" Trick. Beginning with the production of a button- hole bouquet, it leads up to the materializing of an entire flower garden if necessary.
(b). Always arrange your tricks into sets or groups, as, for instance, your tricks with coin should all be in one group, going from lesser--or minor--tricks to the major ones--all leading up to the best coin trick.
This order should be filed with each group, as, all hand- kerchiefs together, all flour tricks together, etc.. Nothing is worse than to first do a coin trick, then a trick with flowers or handkerchiefs, then back to another coin trick, and so on; it robs your work of continuity, creates confusion, and you then fail in this most essential element--sequence. Suppose you read a story by first reading the opening
chapter, then skipping to the fifth chapter, then back to the second, then to the fourth, and so on. You would lose the thread--this sequence--of the story. Just so with magic, make your act a continued story well told, and have the chapters following in proper order--that is exactly what is meant by sequence.
(c). Between each set or group of tricks, there should be an intermission of a few minutes, while the magician leaves the stage or retires behind the screen to consult the program--as mentioned before--or to secure a necessary thing for the next group. During your absence from the stage have this wait filled in with music, and this will be taken up more fully in the chapter on music.
If your program is a lengthy one, say more than an hour, it is advisable to divide your entertainment into two parts, with an interval of 10 or more minutes between them. This arrangement will be found more acceptable to your audience, who are likely to become fatigued by too pro- tracted attention.
It will also be of service to the performer to allow him to make any necessary arrangements for the second part of his entertainment.
A great deal of benefit can be derived from attending the performance of other conjurers, not only in posting your- self as to what movements are graceful or awkward, but by observing the remarks of the auditors you can gain many points, as to how certain tricks may be improved-- how they appeal to the audience, and how to present your own act with its correct dramatic possibilities, it's proper