And after thinking about the process and what you want to say, I have to say it to myself several times. From the audience's point of view, analyze which words are not easy to understand and which words are easy to cause ambiguity. This is very important. In addition, it is recommended that you develop a good habit of getting a notebook, and record what you usually think or hear interesting words, which will be very helpful for your performance.

Prepare two sets of plans. As the so-called preparedness, maybe some of your well-designed jokes, some actions, and some funny effects will not continue due to some unexpected circumstances (for example, the disappearing water, the audience turns too fast...... ）。 So, remember to prepare an extra set of plans before going on stage. Plan B!

Always pay attention to the audience's reaction. Yes, the audience's reaction. Maybe the audience sometimes doesn't react the way you thought it would. Assuming that this reaction is not very important to you, then you can simply ignore the past (for example, if you don't know why everyone is not laughing at the joke, you can exaggerate and stick to your shoulders and say, "Okay, I know it's not funny at all" and continue with your performance), if this reaction is important to you, then try to repeat what you just said (especially the important content) in more exaggerated and theatrical language and action. Of course, there are many ways to do it, so you can experience it for yourself.

Trust in the inspiration of the scene. As mentioned earlier, 80% of the content is planned, and the remaining 20% is really the place to test your performance skills, that is, to adapt to changes. In fact, in most cases, when you are on stage (or backstage) the baggage that comes up with a flash of inspiration is very classic and interesting. So, if something fun comes to your mind on stage, don't worry about the hassle of changing your plans. Use it! That's definitely going to give you something you didn't expect.

Imitate but don't plagiarize. You can imitate Liu Qian, but please don't copy it directly. I don't know if you feel this way. Some people will be funny when they tell the same joke, and some people will be very boring when they tell it. This is the skill of shaking off the baggage. And the trick on this.

You may want to ask the people around you who tell jokes very well. It doesn't matter. What I want to say is that if you say the same thing, it may be funny for Liu Qian to say it, but it may not be possible for you to say it. So, you have to figure out why it's funny, and then you can tell the joke, and that's parody. And the one that you take without a brain is just copying, and you have a good chance of failing. As for how to shake off the burden, I am also thinking about it. If there is a master of cross talk, please don't hesitate to give advice.

It's finally almost over. Well, the magic choice. It's all tears. There's not much to say here. Just one sentence: before determining the performance of the show, you must go to the performance venue to see it in person, especially to sit in the audience to experience it. If possible, bring your partner and let him see the performance in various positions. Then, before the performance, reconfirm the lighting, sound and other issues (in particular, the microphone must be considered.) ）

If the performance has to be successful, but the stakes are great, don't mind procrastinating. It doesn't have to be the kind of drag that has to do with magic secrets, you can find someone who doesn't know, but has already said in advance, will absolutely cooperate with your audience, so the effect will not be discounted.

A good tuner can make it easy for you to set the mood in the audience. Why do you think the atmosphere of the variety show has always been so good? In addition to the excellent host, only one-third of the host's excellence, the remaining half is the audience's cooperation, and half is the sound effects sent by excellent tuners. So, if you don't have a good tuner, bring your sound effects and tell the tuner what kind of effects he will play when.

Find a comfortable environment to perform, and don't perform outdoors during the day in the summer and at night in the winter. One is too hot, the other is too cold. Especially when you're performing on the bus. First, it's not good for your own performance (especially in winter, like now) and the other is that if the audience is invited by you, they may not refuse out of politeness, but they are probably unhappy in their hearts, and they just want you to finish the performance quickly and let him go to a more comfortable place.

Establish your own style and prestige. Especially for campus magicians, once you establish your own style and reputation, then the audience will naturally cooperate with you. Even if what you say doesn't mean anything, someone will giggle (really, not kidding you!)

If you study a little bit of how you greet people in your usual social life, you'll find that you'll usually start with a friendly, hopefully, and endearing "hello." In my opinion, "Hello" is the most dispelling self-introduction that you can use in any situation. Forget about the magic for now. You introduce yourself to someone, "Hello, nice to meet you, and he also reached out to shake hands----- my name is Michael. "Did you notice that Criss's hand was also quickly reached? A handshake is the first step in physical contact when humans are interacting.

As soon as you make physical contact, you have to keep up with things like "hello", "my name is XXX", and "I wonder if you can do me a favor". These simple words can be very discouraged, because everyone wants to be able to help others. I'm just putting magic aside for now. Let's look at some specific occasions where you have to take the initiative to approach the audience, and I've already mentioned the example of a cocktail party. I think the most common occasion is a restaurant. We've all worked in restaurants. We have to perform table by table, and we have to keep getting in on the audience. By the way, I hate performing in restaurants. For me, it's a deliberately created work environment. For most of us, though, it's a major source of income

There are also quite a few people who think it's a good training, but when the restaurant is doing well, you may have to perform the same magic trick hundreds of times in a single night.

It took me more than 20 years to learn to make my life in a restaurant less miserable so I could adapt to that environment. I've now put myself in a situation that is not quite the same as other magicians. I realized this because someone once asked me for a bottle of wine. In retrospect, I think it's strange that I was there to entertain people with magic, why do they think I'm the kind of person who brings tea and water? Is it because of my appearance and behavior? But I don't look like a waiter, it's obvious that I'm not the same as a waiter.

But perhaps it is because of some of my words and deeds that they think that I have a certain status in this restaurant. So I thought, how can I use this to promote my magic in such a situation? Actually, the answer is obvious, and that is that I start to communicate on a different level. Let me give you some of my usual opening lines. I'll walk over and say, "Hello, I'm Michael, and I'm a staff member at this restaurant." My job tonight is to welcome you. And if you want something and I can't get it myself, I know who to ask for.

They didn't know I was a magician. Maybe I'm the publicist at this restaurant. The point is that these words break down all barriers. "Yes, thank you very much. "Did you have a good night?" "Not bad" "Do you need anything else?" "No more" "Oh yes, one thing to tell you is that there is a dish on the menu tonight called 'Magic'. Now think about it, if you were a spectator and you heard something like this again, how would you respond?