[ Pobierz całość w formacie PDF ]
.The left hand takes the cards from the righthand and turns palm up, finishing the rotation of the deck and bringing the cards backinto a dealing position.The earliest mention I could find of a similar procedure is in Marlo s Revolutionary CardTechnique .44 This is possibly one of the finest multiple shifts in existence and has been overlooked byalmost everyone I meet.It is done in the context of an overhand shuffle, looks loose andcontrols multiple selections to the top of the deck in the order in which they wereselected.Although it was published in Greater Magic , I ve added a few touches.Sinceone effect in these notes (Dead Solid Perfect) requires a multiple shift I thought itimportant to describe the only one I use.For illustrative purposes we will assume thatyou wish to apparently insert the four Aces into random places in the deck and fairlyshuffle the deck, while actually controlling the Aces to the top.Begin with the Aces face up on the table and the rest of the deck in your hands.Fanthe deck face up in the left hand.Insert the Aces into different parts of the fan, leavingthem sticking out of the fan for half of their length.Close the fan from right to left.Younow are holding the deck face up in your left hand, with the four Aces out jogged for halfof their length.Tilt the deck up to the right, into an overhand shuffle position with thefaces to the right.The left hand holds the deck with the thumb above, and the fourfingertips underneath.The right hand takes a position with the thumb at the inner end of the deck, near thetop, and all four fingers at the outer end.With all four right fingertips, apparently pushthe Aces into the deck.In reality, when they are only protruding between a half inchand a quarter inch, the right fingertips move upward in an arc, angling the Aces.Theforefinger pushes the upper outer corner of the Aces towards you, past the outer end ofthe deck.As this is happening, the left second, third, and fourth fingers lower to allowthe Aces to move diagonally through the deck.Once the right forefinger has pushed the upper outer corner of the Aces about a halfinch closer to you than the upper outer corner of the deck, the right forefinger stopspushing and the left little finger pushes up and towards you on the lower inner corner ofthe Aces, pivoting them on the left thumb and bringing them into a position parallel tothe rest of the cards, but injogged about half an inch.The right thumb now lifts the inner upper corner of the Aces while pushing away fromyou (in an arc) until it can grip both the top of the inner edge of the Aces and the innerupper corner of the deck against the right second finger at the outer end of the deck.Overhand shuffle, but as you do, slowly rotate the right thumb away from you, keepingits grip on the Aces but releasing the other cards some at a time.At the end, you areholding only the Aces with the right hand and you drop them on top.You can then finishwith a false overhand shuffle of your choosing.45 46 The idea of ProActive Control came about because of a mistake I made whileperforming at The Magic Castle.Something had gone wrong during the set and Iautomatically covered it by switching to another effect without the transition beingapparent to the audience.Two well known magicians came up afterwards andcongratulated me on the performance.When I apologized that they had seen themistake they both raised their eyebrows.I explained what had happened and theyboth were surprised because they did not realize or even suspect that somethinghad gone wrong.After some serious thought I realized that that I was consistentlyapplying principles, strategies and ideas that gave me several advantages overmany other performers.Now I know I m no creative genius so it s important for youto understand that although some of these ideas are mine, most of them were taughtto me either directly or by example.Although I have taught this system to mystudents for over a decade, this is the first time I ve tried to put the concept in print,so I m sure you ll see the concept refined several times in the next few years.ProActive Control is a systematic application of principles, strategies and ideas thatwill give you the following advantages:1) You will eliminate fear of failure which will allow you to perform with totalrelaxation and no fear.2) You will be able to cover almost any and all adverse situations without theaudience even suspecting that something has gone wrong.3) You will avoid creating an adversarial relationship with spectators and be able todiffuse even the most difficult spectators in an entertaining way.4) You will develop an ability to handle cards that goes well beyond standardSleight-of-Hand.Let s look at some of the different components of ProActive Control and some specificapplications.In order to eliminate fear, we need to understand its roots.47 I don t worry about fooling the audience, I just entertain them! If you don t fool the audience, then you re not entertaining them! The entertainment value of magic lies strictly in amazement! Which statement describes your personal approach? Bad news campers all of thesestatements are equally stupid.First, all of these statements (and others like them) seemto classify Deception and Entertainment as being diametrically opposed.They are not.Both Entertainment and Deception must be given equal attention in order for your workto be classified as performing magic .And although you will never perfect them, theonly way you ll consistently achieve excellence is by pursuing perfection in bothEntertainment and Deception.Once you get that goal clearly set in your mind, you llsoon realize that although it s an excellent ideal and one that you should constantlystrive for, we don t live in a perfect world.Mistakes happen; things go wrong; aspectator may be a belligerent drunk or a 12 year old may think nothing ofdemonstrating that he s read Scarne on Card Tricks .These are the moments that wedread, the moments which are responsible for stage fright and shaking hands.Thereare two very important things you can do to eliminate these moments and the fear theyelicit:1) Put your ego in check and properly order your priorities in regards to performing.2) Learn to eliminate most of these moments by thinking and working strategically.OOOOAnyone who says they didn t get into magic in order to bolster their ego is a liar
[ Pobierz całość w formacie PDF ]