Angle of Invisibility
Being conscious of our
angles of visibility is essential to successful
sorcery. It is one of the first things that
we learn in magic and one of the first things
that we forget...or at least put in the back
of our mind. We usually forget about it because
it is so fundamental. All other misdirection
is built upon this basic building block.
At the risk of deviating
into a discussion on misdirection, I want to
address the angle of visibility, or rather the
angle of invisibility, to coin a phrase, as
a basic "why" of magic. I have coined this phrase
because it is nearly as important to know where
your bad angles are as to know where your good
angles are. Specifically, you need to be aware
of when and where you can do the necessary something
or secret move completely unnoticed.
Being conscious of your
angles is something that should be foremost
in your mind every time you perform. It is just
as important to stage magicians as it is to
close-up workers and every performer in between.
To a degree, even escape artists must be conscious
of their angles. Even mentalists must know who
is looking at what during certain phases of
their routines.
So, should you wait until
you have successfully misdirected everyone and
your moment is perfect before you make your
secret move? You may not have that luxury as
often times someone or ones are in the audience
may be burning your hands. Even the appearance
of the donkey and elephant on Blackstone's stage
doesn't go completely unnoticed by absolutely
everyone every time despite his strong misdirection.
There will always be somebody who refuses to
be deceived or perhaps they don't look where
you want them to look because your misdirection
isn't as strong as you think it is. If you find
during the course of your close- up routine
that there are skeptics who refuse to look away
at critical moments, then you must change your
routine to fit the situation. Nowhere is this
more critical than when you perform in an impromptu
situation. Perhaps all it may take to adjust
your angle is to bring your hands closer to
your body or turn your side or back to a particular
spectator for a moment; however, all performing
situations are not created equal. What effects
may work in one environment may be disastrous
in another. What works behind a bar may not
work at the restaurant table. For example, trying
to lap a shell coin while table hopping is out
of the question . . . but you could use a topit.
The effects that you can do while seated may
be completely different from those you can do
while you are standing. Even your favorite table
hopping effects may not be practical while strolling
at a cocktail party. You don't have the same
set of surroundings nor even the same ambiance
in these venues.
Take for example the
routine of a restaurant magician. Most of his
effects are geared for maximum audience visibility
since he wants the magic to be seen not only
by those at the table but also by those at nearby
tables so that he can generate interest at his
next table before he ever approaches them. His
angles of visibility are large and his angles
of invisibility are rather limited in this surrounded
situation. Wide gestures and much animation
may certainly attract attention and give him
some misdirection for making the move and thus
increase his angles of invisibility, but it
may also interfere with the food service.
Accordingly he must choose
his moments carefully and be conscientious of
his surroundings. After all, he is working completely
surrounded in most situations. For example,
he may not be able to palm his final load and
drop his arm to his side because the table behind
him may see it. His misdirection and timing
must be perfect for accomplishing the move or
else he must stick with a self-working trick
that defies angles (i.e. zig-zag cigarette).
Unfortunately timing
and misdirection are two things that can't be
practiced in the mirror. They can only be perfected
under actual performing conditions. They can,
however, be rehearsed and anticipated before
you get into the real life situation. With much
study and understanding of "why" an effect works,
you can anticipate the audience's reaction so
that you will know the "moment" when you will
have that angle of invisibility.
Although impromptu magic
can and does happen anywhere at any time, perhaps
the most frequent place where you will be asked
to perform in an impromptu situation will be
in a restaurant dining among friends. Fortunately
you are provided with more "props" at a restaurant
than any other place (ie. salt shakers, napkins,
silverware, glassware, etc.) plus you are seated
where you may take advantage of occasionally
lapping an item; however, if you overdo this
powerful method of vanishing objects, then before
long everyone will know where the stuff is going.
You may even feel more comfortable standing
for a moment and going into a few table hopping
bits. But again, you must be aware of where
those seated beside you are looking.
They may be able to see
into your lap if seated at a round table or
if you are seated on the side of a long table.
Accordingly, I always try to be seated at one
end or the other of long tables. I may never
be called on to perform, but if I am, then I
will have the advantage of knowing my angles
and of being seen by everyone at the table.
Impromptu magic, or as I like to call it . .
. jazz magic, is never really "impromptu" because
you should have complete control over the situation
including knowing where your best and worst
angles are.
Think of another real
life performing situation . . . jazz magic aboard
an airplane. Talk about restrictions! You are
belted in a seat with limited movement and a
spectator seated immediately beside you who
could potentially be getting the performer's
view at any given part of the routine. Those
effects that worked so well in the restaurant
now have to thrown out the window (well, maybe
not at 35,000 feet), or do they? Perhaps with
a little ingenuity, some of those effects can
be adapted to the skyways. Obviously your "get
ready" for the double lifts and finger breaks
may be detected when you can't move your body
around. What you have long practiced to look
natural now looks very unnatural in an airplane
seat. Your arms are restricted so you can't
turn your body appropriately. More than half
of your repertoire has to be thrown out or reworked.
Let me suggest that some
"beginner" type of tricks, if properly routined,
can be made to look professional and be completely
baffling and particularly suited for these restrictive
performing venues. Many tricks of this genre
are dismissed as we "grow" in magic and become
more "sophisticated" after we have mastered
the Erdnase diagonal palm shift. Let me suggest
that you go back and re-read those basics. Dust
off those old books and become a magician again.
Think about how you can rework some of those
classics that you think "can't possibly fool
anybody." Just remember how you once felt when
you were awed by the first effect that you ever
saw. Think how you can make a simple, selfworking
trick more entertaining by wrapping your personality
around it and you will be on your way to becoming
a better, more flexible, and complete magician.
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