It's linked to the article put up by mattlee in a different thread

In it the author described the magic of his times as "actually consists of a multi-phase routine, which builds from the start to a distinct climax."

And he described mordern (internet & TV) magic as " weak, impractical, often "angly." There is no presentation to speak of; after all, what is left to say if the trick only takes 30 seconds to perform."

Apparently, from the above article, the author implied that modern magic has no routining or presentation built in, only a hit and run effect.

Often we heard of this word call "routining" from older magicians. I actually never really understood what that means. So what does it really mean to "routine" your tricks?

If you own Gregory Wilson's materials like Ring Leader or Card Stunts, you'll get a great feel of what routining is about through his presentation.

A routine usually consists of a theme that ties up a number of effects together so that they are presented in an entertaining manner. It's important that the routine builds as it goes along and finally, ends with a strong finish.

In Blaine's style though, he usually doesn't do that, it's just one effect, and that's it.

But it's probably unfair to say that all TV Street Magic is like that.

^ totally agree



on TV and internet , the idea is to very quickly visually communicate and stimulate the audience , hence quick visual and " big " tricks are required


however , this can also be the same of closeup walk around magic , time David stone also states that working closeup magicians need strong visual and varied tricks that last max. 2mins


however i also feel that for a good magic show or performance , not work /walkaround magic it is very very important to have good solid routining

Roland, take note of your punctuation and the use of capital letters ok?

I think in Blaine's case, he had no choice. There is only so much TV time to perform that many tricks.

I faced such problem even when performing to my friends. No many have the patience to see through a whole routine (maybe I wasn't that good yet). They want to see something fast.

Only at certain occasion (like at a pub), where we are at a table, do I have the luxury to do a series of effects.

I tried routining before and this is something I came up:
theme: mind-reading through body language.

1) simple location using a K*y C**d.
2) location using a c***p.
3) location using a f***e.
4) Stigmata or Triumph.

^

bleh, i just got back from camp so i was freaking tired.


besides the trapping heat helmet has effectively dumbed down my brain by 20%


:P

Muscleaxl,

before ur friends are prepared to watch ur prepared routines u will need something short sweet and visual to gain their attention, u must 1st prove to them that u are without doubt , the best magician they have seen in a while.

so ur 1st trick needs to be less than 2 mins max , visual and eye popping.

A Quick opening i use , which can lead to further expansion if they are agreeable to see more magic :

1) f**** a card , return card to pack with one card on it and control it to the top with a card on top of it
2) borrow lighted cigarette
3) choose hand
4) reveal card using voodoo ash principle with the ashhes from the ciggy
5) steal a TT into play when they are stunned with the revelation
6)vanish lighted ciggy with TT

that should get some reactions , then ask if they wanna see more?

if they do, then ur card is 2nd from the top

i say let's use the same card again , but we'll have to find it. use top card and say this card will find ur card

7)do shapeshifter or ur favourite color change to reveal card

8) do 2 ACR moves and finish with the POP UP ending.

9 )since the card is already bent , do a torn and restore signed card ( i use JC wagner's ) as the ending


i usually do Biddle after this as it involves more storytelling and u have their full attention by then

hope that helps

Roland

Very interesting topic, but a pity I missed this until now.

Just some of my thoughts...

A routine refers to structure of a trick or act, and I think that this is very important.

A routine for an act, contrary to some beliefs, is not simply cobbling several tricks together. A routine for a trick is not simply any combination of sleights that achieve the effect either.

One has to ensure:
1. Continuity and pacing (both technically and in presentation - style, such that there is adequate motivation)
2. Dramatic structure and climaxes (I always advocate a quick opener and ending with a bang)
3. Controlling attention and misdirection appropriately
4. Variety
5. and more (can't think of any now)

For me, I have found that Darwin Ortiz' Strong Magic is very detailed in this respect and is highly recommended.

Rolandlim.

Perhaps you are referring to the concept of an opener. =)

To all:

How flexible are your routines since you have a thematic approach and a perticular climax you want to build up to?

CSJ

I just wanna chip in something quickly.
There are actually 2 different types of "planning" that magicians commonly refer to similarly as "routining" which can cause some confusion.

One is routining of the ACT (i.e. your whole show), which is the planning of the sequence of the different effects for a good flowing act. The factors that come in play include the time lenght of the effects, the impact of the effects, the theme of the effects, etc etc.

The other is routining of an EFFECT (a trick), which is the planning of the progression of the trick. The factors that are considered includes the method for each phrase of the effect, the impact of the effect, the (perceived) difficulty of the effect, etc etc.
This is usually required for "multi-layer" effects which has some repetition in them. E.g. ACR, Cups and Balls, coins across.

In both cases, presentational point and patter are also considered and planned.


I believe the kind of routining mentioned in the article refers to the 2nd type.


I'm gonna side track a little with a personal opinion...
Have you had this experience when you watch something live (e.g. dance) and it felt like a great act but when you show the videoed version to your friends, they seem relatively unimpressed?
Or have you seen some of those videoed theater plays on Arts Central and they seem quite flat, even if it's a famous production?
My point is the same act (material) presented thru different medium can very drastically change the perception of the material.
An actor who uses theater styled acting for TV will look like he is unrealistically over-acting. A TV actor who acts in a drama production and doesn't hem it up a few notch will seem very flat.
I believe that's why certain TV magic is done the way it is done, because it's more suitable for TV that way. The "presentation" and "story-telling" are done thru the editing. A great live act will not necessarily be as interesting seen on TV.
By that same token, the way TV magicians routine and present their stuff is not necessarily the best way to do it for a live audience. Even if they are both "close up" acts.
So routining should be also consider "medium".


Anyways, routining. I think it's of paramount importance and can make the difference between a truly engaging experience and a visual puzzle.
It is also what seperates the good from the best. And also perhaps the most difficult part to get "just right".
In my opinion, Sherman won Legerdemain because of superior routining (the 1st type) which really made his act stand out.
For those who has seen his previous "similiar" act, i feel changing the egg bag routine changed the pace of the WHOLE act. And the final dove was a more fitting climax to the expectation and "climax wave" set by the act.
The careful routining really made the difference.