The Process of Learning Magic Tricks By Eliza Maledevic

Magicians are well known when it comes in performing magic tricks. Most of the time, they serve as an ice breaker in every gathering.

They are the most anticipated performances and having this kind of skills is very useful in many events. This is why there are many people who would want to learn the process. One of the main reasons for this is that there are really lots of people who get entertained by those people who perform tricks.

The popularity of performing magic tricks is actually increasing and it has always make people entertained and get amazed. With this article you will learn some tips to follow while you are in the learning process to perform the tricks. You can make your own tricks or start learning from books, internet and through others. There are lots well known magician in the world, you may not be as good as they are but at least you can make others laugh and entertained.

The first thing that you need to do is to gather information from different resources. There are many resources of information that you can use in learning on how to perform magic tricks. You can start reading books about different tricks. Actually there are many available magic tricks books out in the bookstore or you can just simply borrow from the local library. This is a traditional way of learning different tricks. What is important is that you are exposed to the different tricks and you will be able to learn through the process of learning from books.

And if you are done learning those basic tricks, you can start finding sources for your advanced learning. You can be better in performing some magic tricks when you try to specialize in a certain type of tricks. You may not be able to learn all about the tricks that you may encounter but you can always perform better tricks when you able to learn a certain types of tricks. You can use other resources such as video and the internet. In using video, you will be able to learn the step by step procedures on how a certain tricks are done. You will have a better illustration of what should be done. Internet is also a tool in learning tricks. Whatever method that you prefer what is important is the amount of information that you may get. You must have complete knowledge on how each trick is done.

And another important thing that you must keep in mind is to have enough patients in practicing. You cannot perfect your performance if you are not determined in practicing it. Keep in mind to start with the basic magic tricks before jumping with those complex tricks.

For more information about Magic Tricks feel free to visit http://magichutonline.com
Eliza Maledevic writes for http://Jump2Top.com - SEO Company

Hire Me! Auditioning For Musical Theatre - Your Song By Anne Marie Mortensen

I have sat through hundreds of musical theatre auditions for community theatre productions, either as a producer, director, or stage manager. I can tell you that for amateur performers there is a marked delineation between the auditioners who have had competent teaching and those who have either not benefited from lessons, or who have had bad teachers. This is true for all three aspects of the musical theatre audition: singing, dancing, and acting.

The thing about lessons, especially for singers, is that your teacher will help you to find a song that is suitable for your voice. This is a valuable service that they offer, bringing their broader range of knowledge to serve their client. Your vocal teacher will be able to find a piece for you that you can master, and they will help you to master it before your audition.

Here are three suggestions that will help you to tune up your audition:

1. Choose musical theatre pieces. This sounds simple, but too many times, I sit through an audition that is lacklustre because the actor chooses a popular song. I would quite honestly rather hear a really proficient rendition of 'Twinkle Twinkle Little Star' than "Hey Jude" any day. And I love The Beatles, but without the backup vocals and instrumentation behind it, the song is not very wide ranging or entertaining.
2. Play it safe. Auditions are not the place to try to hit that high 'C' unless you have absolutely no difficulty hitting it every single day. You want to show your ability, but unless you are certain of every single note in a song, then you need to choose something else that you can hit every time.
3. Bring it to life. Think of your song as musical monologue and put something of a character into it. Your goal is to show the director that you can sell a song: so sell it!

Remember that the purpose of an audition is to show off what you can do best. So prepare, prepare, and prepare. Ask for help, ask for pointers, use your teachers, your friends, your fellow actors and get some objective, constructive insight before you get to your audition.

Anne Marie Mortensen is a theatre producer, director and coach in Kingston Ontario. Her business partnership, Bottle Tree Productions, is the Company in Residence at the Wellington Street Theatre.
Bottle Tree Productions
The Wellington Street Theatre

How to Do Magic Tricks For Fun - Match Mind Reading! By Michael Breck

This is a great little trick for the bar or any social occasion. Even though you do not look, you are able to predict how many matches a spectator has moved from one pile to another.

How It Looks To The Audience

The magician turns his back and asks a spectator to make three piles of matches, each containing no less than four matches. He is also told to put the same number of matches in each pile. The magician then asks to spectator to take three matches from each of the end piles and place them in the center pile. The magician then asks him to count the numbers of matches in either end pile and take that amount away from the center pile and put them in the left pile. When the spectator is finished, the magician correctly states the number of matches in the middle pile!

How The Tricks Is Done

The secret is simple. If you follow the instructions above, then there will always be nine matches left in the center pile. You could announce this as the answer, but do not. Cover up your tracks and make it a bit more complicated by asking him to move a few more matched from pile to pile, while mentally keeping track of the total.

For example, ask the spectator to move four matches from the left pile to the middle pile. This will make the center pile contain thirteen matches. Then ask him to move two matches from the center pile to the right pile. This will leave eleven matches in the center pile and you can grandly announce this as the total.

You can safely repeat this trick. However, some spectator may suspect you are using an arithmetical system to obtain the same results each time. However, by varying the number of matches moved, you can fool them by arriving at a different total each time.

You can confuse them even more by asking them to initially move one, two, or four matches from the end piles to the middle pile, instead of three. If one match is moved, then the final number in the middle pile will be three. If two matches are moved, then the final number in the middle pile will be six. If three matches are moved, then the final number will be nine.

The number in the middle pile will always be three time the number of matches you ask the spectator to move from the end piles to the center pile. Knowing this, you can vary the procedure to keep the final total different each time you do the trick.

Michael Breck is a professional Magician in Scotland. He also runs an entertainment agency called The Magic Agency, which supplies bands, string quartets, harpists, and entertainers for weddings and events. For a mind-explosion of entertainment ideas go to Weddings and Events

Getting Started in Voice Overs - Chapter 4 - 3 Things You Can Do Right Away By Stew Crossen

Here are three things you can do right away.

Keep A Notebook

Jot down the day and time that you practiced and what copy or script you used such as a commercial, a narration or a character read. Make detailed notes about how your voice sounded. For example; rough, dry, wet, lower pitch, higher pitch, etc. Make notes about any areas you need to work on such as; diction, pacing or your breathing.

If you're interested in character voice work, a notebook is an invaluable tool. When you come up with a new character voice (or new vocal attitude), give it a name and a back-story and put it in your notebook. By turning these voices into real characters it will help in your recall of them when you need them later on. Referring to "Gizmo the Sprightly Elf" is easier than "that high-pitched squeak where I talk through my nose with a lisp."

One voice actor I know, keeps a photo or picture of every one of his character voices on his cell phone. When he needs some inspiration or help recalling a character, he can quickly look them up no matter where he is.

Build a Knowledge Base

Go online and search for voice actors, producers and casting companies. Study their web sites for content, features and demos. Bookmark the good ones and visit them often. Search for articles and news about voice overs and read up on the industry. Try to spot trends. Keep your eyes open to the various ways people use their voice to make money.

Read Books

There are lots of books written about voice-overs, and while none of them can replace face-to-face training or practical hands-on experience, many of the authors have a lot of interesting things to say about the voice-over business. There are several we like for their fascinating anecdotes, character work examples and general information about the voice over business.

In Chapter 5, we'll talk about Interpreting And Understanding Copy.
Stew Crossen
Visit my web site for Voice Over Talent & Voice Over Training
http://www.VoiceOverWorkshop.com

Children and Theatre By Charles G. Robertson

Children tend to approach theatre in two different ways. They either submit to the ensemble or they are driven to stand out.

The members of the ensemble turn in and create a collective, which does not prize audience involvement, but involvement of their peers. They are not concerned about being heard by anyone but each other. Children form this collective out of shyness, out of imagination, out of needing each other to form the bricks of their imaginary world. With rich imaginations, they create a temporary world, whose fragile fabric evaporates slowly after they have finished their creation. Usually more girls than boys like to work in this manner. The group triumphs over the individual, Socialism over The Individual.

Theatre is the place where 'let's pretend' becomes controlled play. But there are those children that don't fit into this mold. More often than not, they are boys, and more often than not, they are crying for attention. Less absorbed in the world of imagination, they strive for the audience. They want the audience. Less willing to submit to the group, they tend to be centre stage in performances. They happily engage the audience.

Girls tend to be more socially mature and thus they succeed at collective work; a microcosm of Society's good and altruistic behaviour. Boys: less developed socially, turn outwards with a "look at me" bent. 'Look at me fall out of the tree!' ' Look at me chase the birds!' The contract that boys make with the audience tends to be ultimately more successful than the contracts girls have with their fellow players. Young girls have to be taught to engage the audience and young boys have to be taught to acknowledge their fellow actors. But young people that are driven to succeed in the arts make that contract with the audience.

The collective behaviour and the individualistic behaviours are independently unsuccessful, but when melted in the crucible of training and performance, there is something magical created, the shining alloy of performance. Teacher, director, writer, actor and audience shape and change each other.. Socially advanced, the collective of girls find in the theatre, a place to share their love of language, their imagination and their desire to build. Like the Greek actor: Thespis, who stepped out from the chorus, the boy stands outside the walls of the Collective and demands that they pay attention to him. In theatre, far more girls are drawn to this magical world, than are boys, but it is the boys that succeed more often. The me-first behaviour of boys tends to get noticed more by audiences and directors. Girls can be absolutely brilliant but be upstaged by a boy simply looking out at the audience and talking to them, of including the audience in his play. He needs the audience to make him whole and she doesn't.

After a while the collective and the individual make compromises and they learn from each other. The shy child learns to turn out and to share their rich imagination with willing audiences. The extrovert learns to use the tools of ensemble work to further his or her aims, which is merely to please the audience.

Together they form a community, which depends on the strength of the other. The Collective and the Individual, Girl and Boy, form their own unique theatrical community, which dissolves with the final applause. The theatre grows dark waiting for more of the same, waiting for another community of actors.

Alone, it is empty.

Charles G. Robertson

Charles is a playwright, producer, and drama coach living in Kingston Ontario, Canada. He is a partner in Bottle Tree Productions, resident company at The Wellington Street Theatre, of which he is the Artistic Director. His award-winning plays are inspired by the actors with whom he works. Charles has an extensive roster of directorial credits ranging from Shakespeare to Dario Fo.

http://www.bottletreeinc.com
http://www.wellingtonst.net