Don't arrange the same type of action or the same effect in the same process...

For example, open the fan... The most important thing we look at is the method of opening the fan... And the audience mainly depends on the effect (in addition, he can't tell the difference in the method of opening the fan...) , like a two-handed fan, a pressure fan and a thumb fan, the audience will not feel any different... There are also one-handed fans and Flipback fans... The audience won't tell the difference... There are many more similar actions... One by one said that it was too tiring... Let's figure it out on our own... (Street flowers are not watching videos...) The audience is at a distance from you... Even if there is a difference, the audience will not notice)

Don't put the same type of fancy in the same process... Even if you're going to perform... It's also best not to perform more than two in the same flow... And it's better to choose those fancy ones that have prominent movements... Because the audience will only remember a few prominent actions when watching the fancy...

For example, the Tornado Cut in Pandora... Suppose you can't find the kind of trick with a prominent movement... Then you can add a couple of prominence moves to him yourself... For the audience... The meaning of the salient action generally refers to the turn... Neck cut card... Signs... Flying cards and so on...

Let's talk about how to deal with fancy misses... I won't talk about XCM's... Jerry already mentioned it in XB... People are much more professional than me... I'll tell you about Flourish...

First of all, remember one thing... The audience is not a fan of fancy ... You're just playing a Sybil, and when you're done, tell him you're Pandora and he won't doubt it... What I mean by this is to play with street flowers, don't like to pay attention to a certain flower cut... Be improvised... For example, let's say you play Molecule 4 and you end up with the index and middle fingers of your right hand not pulling out the cards... What do you do? Stop acting? Or do you do it all over again like you would shoot a video at home? In fact, the audience doesn't know how to play Molecule 4,... If it were me... I'll make a Roller FlipBack (I hope I'm not mistaken...--|) Of course, there are many other ways to deal with it... It's up to you how to do it...

The most critical way to deal with street flower failures is to improvis... As long as you go out on the street to perform a few more tricks, you can practice it... (Not for you to practice on the street...) It's about taking the performance seriously like shooting a video)

One last note... One process for one location... Don't perform fancy for too long in the same spot... In this way, the audience will lose interest in watching...

Based on my experience with acting... XCM and Flourish combined to perform... Just control the pace of the performance... It's no problem to perform for 10~20 minutes... But I usually only perform in one place for 5~10 minutes... After a long time, the audience will not be interested in continuing to watch... After all, fancy is no better than magic... Fools can tell the difference between color contagion and color change... And the fancy doesn't... Of course... This performance time still varies from person to person.

Today I would like to talk about some personal understanding of the classic process Room For Maneuver, how to improve the details but there are many problems and then make the actual performance more perfect, is the purpose of this article, the following are a few points I have summarized through thinking and practical exercises, welcome to put forward new additions and suggestions.

Room For Maneuver is the most varied and performative process in the entire collusion tutorial, with three stages: play, castling, and transfer. It is a test of the performer's card skills, and this time zenneth explained the whole process through nearly 39 minutes, and I also had a systematic understanding of Room For Maneuver after repeated scrutiny and research. Here are the details:

The whole process is performed smoothly, and the magic is performed for the audience to see, so whether the magician can get praise and applause depends on whether the interpretation is smooth. Zenneth also completed the demonstration in 3 minutes and 46 seconds, so for the average level enthusiast, this kind of well-paced, very layered content is not something that can be mastered after a day or two of practice, and it takes a lot of time to practice and figure out what suits you. The tree dies, the man lives, and do not imitate it deliberately. Otherwise, you will only lose your own style.

Creating the greatest visual effect for the audience through the way of guidance, friends who know this process know that the first is the effect of segmenting ten cards. The pre-shuffle and play of cards are done as plainly as possible, and everything is to pave the way for the subsequent work. At the end of the first stage of the performance, pay attention to the control of the rhythm. By the way, give the audience a prepared mentality and continue to enjoy the next more exciting content.

For the second stage, how to apply linguistic guidance to make it not only visually impulsive, but also able to cause spiritual shock (seems to be an exaggeration). After all, the second stage is the essence of the whole process, so it's important to strive for maximum results.

Then you need a hint from the magician so that the audience has a clear understanding of the wholeness, and don't end up with the audience not knowing what you're doing. HOW TO MAXIMIZE THE EFFECT?THAT'S A BIG PROBLEM~!SO FAR, I HAVE BEEN THINKING OF A SUITABLE SCRIPT FOR THE WHOLE PROCESS, AND ZENNETH HAS BROUGHT US SUCH A POWERFUL END THIS TIME, SO I CAN ONLY SHARE IT WITH YOU WHEN THE INSPIRATION SUDDENLY APPEARS~!

Trying to simplify the process as much as possible to make the process more natural and smooth is also something that needs to be paid attention to in the details of the performance. After all, a lot of magic shows need to be applied to actual combat. As I said before, the method that suits you best can make the deduction smoother and more convenient to apply. Therefore, I think there are several areas that can be improved:

In the second stage of the series of exhibition cards, if I used the original teaching method, I was more likely to make mistakes. The reason is that I am not proficient in Professor Zenneth's count switch practice. Personally, the usual method is to first show the audience ten cards, and then put him on the whole stack after counting the first ace, the key is to count two twos and one break of the whole stack with his thumb, and after counting three threes, put them at the point of two twos (break continues).

When counting 4 cards of 4, the license plate is directly broken and counted, and the order at this time is 333,22,4441,4 (I don't know if you can understand such an abstract description). The purpose of this is to make the illusion of making cards appear more realistic, and it also saves some complicated operations. What needs to be done at this point is to control the hole four to the top (but I am used to showing the hole cards to the audience before the operation), and then it is much simpler: side steal, palm, and the bottom card...... Feel free to like it!

When it comes to castling, I always think that the palm in the original practice is more risky, and the audience can easily notice what you're doing. After much reflection, I decided to take a more risky approach to cover palm (I don't know if the name is correct, this trick is used in Joshua Jay's Shrunken revelation flow) to make it as easy as possible to make the hand as easy as possible and the audience can clearly see the changes in the stack. The disadvantage is that the difficulty of this trick is far greater than the limit of what can be expressed in words. Therefore, let's practice the technique hard!

The third stage of transfer is indeed quite difficult for me. Although Professor Zenneth used the palm method intensively in teaching, it was not natural enough to operate it by himself, so he thought of an opportunistic method. It's about having ten cards in four pockets in advance (I think going through the first two stages of the operation should create a kind of subconscious that you can do anything in the general audience). Even if he pulls out the cards he has prepared in his pocket, he will be convinced that they are the original ten cards used for the show (of course, if you are very confident and ask the audience to sign the cards to convince them that they are the pokers used in the show, you can do it exactly as in the teaching).

Personally, I think the biggest challenge of this process is the timing and rhythm. The time to complete the whole process can be controlled in about 5 minutes (don't underestimate these 5 minutes, you need to practice and master constantly), this post is just a beginning, and when the time is ripe, post a video of your performance and share it with you, and I hope you will provide more suggestions on performance or details.