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jmac
Wizard
| Joined: | 08-15-2004 |
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Posted: 04-29-2008 18:19 |
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TylerErickson wrote: Just my personal feeling, but using the pass for the AC is really not the best application. While it certainly can be done, it really must be done with a great deal of thought and timing in order to make it effective.
I also think it is important to emphasis what Jmac and Erlandish said; sometimes the pass is a required move and cannot be "easily replaced" with some other control.
T
Tyler,
As you know, I use the pass in the first phase, because the effect has not been established. When I use it a later phase its done at very relaxed state in the routine, or there is no heat because of the misdirection. It's kinda hard to explain to everyone.
JMAC
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TylerErickson
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Posted: 04-29-2008 20:02 |
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Jmac,
Yes, I do know all about your first phase, etc. Before we go down that path, how relevant do you think your AC structure is to someone who hasn't even started learning the pass? I think this question is important; particularly because the pass is a hard move to begin with, and you are talking about an advanced aplication.
Karl,
I'm curious if you are looking to train only a single move or if you would be willing to do a couple of them in tandem. Once you decide, I'll kick out some ideas on what may be helpful.
Best,
T
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jmac
Wizard
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Posted: 04-30-2008 00:28 |
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TylerErickson wrote: Jmac,
Yes, I do know all about your first phase, etc. Before we go down that path, how relevant do you think your AC structure is to someone who hasn't even started learning the pass? I think this question is important; particularly because the pass is a hard move to begin with, and you are talking about an advanced aplication.
Best,
T
Tyler,
I agree with what your saying, there are other ways than the pass for sure. I was messin with the acr long before I could do the pass. As I stated before I don't use the side steal. That does not mean its not a good move, it means I'm lazy,and I don't work in the venue where I think the side steal plays the best.
So this brings me to the point of what move or sleigt might be the best for the setting?
jmac
Last edited on 04-30-2008 00:28 by jmac
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joekarl
Magician
| Joined: | 11-30-1999 |
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Posted: 04-30-2008 02:31 |
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Sorry, been trying to get through finals. This week has been really hectic.
Anyways,
Tyler:
More than anything else I'm trying to learn some controls that I can jazz with rather than stick with a rigid routine (with school, the same people want to see tricks so I have to keep it fresh). There's only so many ways to do a double lift  .
I have been playing with the top change some and that hits pretty hard. I'm just trying to figure out which would be a better general move for jazzing. (I'm also throwing in the spread cull too)
I'm interested in the side steal for it's palming applications.
the pass for general control
and the same with the cull
the top change for it's boldness
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MountainDew
Sorcerer
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Posted: 04-30-2008 07:15 |
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Perhaps a place for you to start is...what tricks do you know? What is your character like? Have you considered non-card tricks?
I also have the fear that you are simply taking a sleight and making a 'performance' out of it, like a 'sleight of hand artist'. As a magician, IMO we are beyond that. Yes, sleights are essential, but they aren't the reason why audiences are entertained. More than the tricks themselves it is your showmanship and presentation that counts in the end.
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