Manipulation Musings

Summary

An excellent post with some advice for people considering a manipulation act. by J C Sum.

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By: J C Sum
For this post, this is my response to magicians asking me about manipulation. I am no means a manipulator. I have dabbled with different forms of manipulation over the years(like we all have) but I do have one billiard ball act which I perform professionally. I am not claiming to be an expert, these are just my thoughts.

Here goes;

Manipulation is probably the most technical demanding branch of magic. Although sleights are comparably to close-up or stage magic, it is the direct focus of the audience's attention on just your hands that makes it difficult. Especially, when performed to music, misdirection is limited to non-verbal communication. In this case, misdirection may come in the form of body turns, hand movement, pointing and head gestures.

Here are some of my thoughts on stage manipulation:

For some reason, manipulation does not entirely need to have logical moves. In fact, motivation does not seem as important (or apparent) in stage manipulation as in close-up magic. This is open to discussion but I believe that the audience tends to be more forgiving to lack of motivation in movement for stage manipulation. Motivated movement gives way to dynamic movements, dramatic gestures and 'magical' gestures.

To use a term mentioned by Michael Ammar, stage is manipulation is like 'bubble gum to the eyes'. Bearing this in mind, you will realize that the construction of a stage manipulation routine is significantly different from constructing a close-up or stand-up act.

Introduction

I believe that a good manipulation act can be enhanced with a good intro. Most start their shows with a manipulation act due to the nature and position of the loads. However, if you do so for that reason, you are allowing logistic restrictions to dictate the sequence of your show. Creativity should not be constricted this way.

An intro can be as simple as saying a few words about the routine or using a suitable patter to bring the manipulation routine in context. If you think about it, manipulators use all sort of props ­ thimbles, bells, balls etc. Justification for the use of the props might help the routine.

Music

Music is critical. I need not say more. Music dictates the pace of your act and sets the mood. It creates theatre and brings life to the act. The correct music makes or breaks an act.

Conditions

For most workers, who do not have the privilege to perform on a proscenium stage, it is unlikely that you can perform a proper manipulation act. A manipulation act is greatly dependent on palming, stealing and ditching of props. This makes it angle dependent. Thus, you may work on an act for months but have no place to showcase it except in front of a mirror.

In reality, a manipulation routine may not the best thing for you to spend time on if your shows are of 'working conditions' nature. You have two alternatives ­ 1) design an act to suit all venues or 2) find the right venues to showcase your act.

Rehearsal vs. Performing

I think that in the case of stage manipulation, performing for a real audience is the only sure way to improve the act. You can be perfect 10/10 times in front of the mirror, however, there is nothing like a real audience that makes you tremble and sweat with nervousness. Shaking hands and sweaty palms does 'wonders' to a manipulative act.

Just do it! When you think you are ready.

Manipulative act as Theatre

Due to the nature of a manipulative act, it lends itself greatly to well choreographed movement and staging. Spend as much time working on the staging, movement and actions in the act as you would on the technical side. Take note of dynamic movement, finger, hand, head, body and feet movement. Everything should be planned. Plan even times when you take time to acknowledge the crowd.

Time

Developing a good act takes time. There is no short cut or expressway to a good act. Realistically speaking, you would need at least 6 months to 12 months to just creat the act. It will take you another year to master it and finally a lifetime (okay, 10 years) to perfect it. Give yourself time and do not give up.

Here are some suggestions for practical manipulation (by no means exhaustive):

  1. Keep it short when you first begin. As a rule of the thumb, do not use a same prop for more than 2 minutes. Audiences need variety and prefer something short and sweet. Most manipulation routines go on too long. The audience does not see the difference between a French drop vanish and a drop vanish. This is the same advice jugglers give. Audiences do not appreciate every small variation in throwing balls in the air.
  2. Work on music selection. For manipulation, music is critical is setting the right mood. Synchronization it music with moves makes the act.
  3. Start the act with less heavy sleights. You want to start relatively stress-free to warm yourself up.
  4. Work as much on your eye contact, gestures and movement as you would on the technical side of the act.
  5. Smile

Lastly, my thoughts on holders:

I have never really liked holders. When I was experimenting with manipulation routines over the years, I had holders of all kinds for stealing things like cards, silks, balls, bottles etc. However, I have never been able to steal anything without turning my body to the side to make the steal. In fact, all acts I see who make steals in manipulation acts tend to have obvious body turns to steal stuff. In this case, I am referring to strictly manipulation acts where the magic is done just with the hands and no major props.

The most likely solution to this problem is to relocate the position of the holders. The typical place to locate the holders is to put them under the edge of the jacket just behind the thigh. You are 'supposed to steal' the load by dropping your hand in a natural position. However, when performing, it is common to have dynamic movements and gestures with your hands(which would be unnatural in the real world) - thus dropping your hand to the side, in fact, becomes unnatural on stage.

Here are some of my suggestions:

  1. Wear a vest and hide the holder under the v cuts at the bottom front of the vest. It is a much more natural position for your hand to be. You can misdirect by extending your other hand outwards to do a flourish.
  2. Place the holder under your jacket on the edge at the back of your jacket (the small of your back). When giving a bow or nod of appreciation to the audience, it would be naturally to place one behind your back, place your feet together, and give a quick bow.
  3. Steal the ball when you take something out of your pocket or top hat or receptacle bin. It could be a lighter, flash string etc.

Good Luck!

J C Sum
Singapore
www.conceptmagic.com

The discussions on these web pages were extracted from MagicTalk and are therefore Copyright 1998-2003 by Bryan Dean and used with his permission. While this website may be freely read, it may not be freely copied. If you want to copy any of the information from this web site you need to contact Bryan Dean at bryan@magictalk.com to obtain permission.

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