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By Derren Brown

Absolute Magic, in fine condition. a bit dusty on most sensible, yet different then that its pretty well mint.

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Extra resources for Absolute Magic

Example text

If somebody criticises your performance, you n:ust instantly be able to see the performance from a detached perspective, ascertain why the criticism might have been felt, and what, if anything, could be done to change things for the better. This is not to compromise our vision, it is to help us reach it. As a performer, you should see criticism as a positive thing. Clearly you want it from people whom you respect, and people who understand what you are trying to achieve. As long as you know what you are trying to achieve, you will, by practising this detachment, see whether you are getting closer to your goals or not.

Where, after all, could that feedback come from? Not from the public, who would in most cases pretend to be fooled out of sheer pity. Not from other magicians, who will be generally unlikely to be able to offer a layman’s reaction. For an art that relies entirely on the experiences of the spectators, it is remarkably difficult to find out what those experiences are We cannot finish an effect and then immediately have the audience dissect their experience of it to provide us with useful information.

And leaving the question Psychic or Fraud? open is a poor substitute for real wonder. Here, the performer is merely pushing the audience into a polemic, and undercutting much of the power of his performance). Cause by metaphor, however, as in the case of the ring, is a genuinely magical conceit. It is openended, wondrous, and it presumes intelligence on the part of your audience rather than patronises them. As magic stands, the question of ‘how’ is an embarrassment to the performer. It will seem sacrilegious to many to even be writing about it.

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Absolute Magic by Derren Brown

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