The Real Magic Behind the Performance James Anthony Issitt
Total Page：16
File Type：pdf, Size：1020Kb
Performing Miracles: The real magic behind the performance James Anthony Issitt BA(Hons) Drama with English (St. John’s College, University of Leeds) MA Text and Performance (King’s College, University of London and RADA) Word Count: 44,101 Doctor of Philosophy Lancaster University (University of Cumbria) May 2020 Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy Abstract James Anthony Issitt BA(Hons) Drama with English (St. John’s College, University of Leeds) MA Text and Performance (King’s College, University of London and RADA) Performing Miracles: The real magic behind the performance Word Count: 44,101 Doctor of Philosophy Lancaster University (University of Cumbria) May 2020 Whilst the study of magic, for many years, has examined the mechanics of legerdemain there remains the need for a reflective analytical and pedagogical framework that can be utilised for the exposition and development of the close-up magician’s practice. As a premise, if there are two magicians, Magician A has the best sleight of hand in the world but lacking in performance skills; and Magician B can competently execute ten tricks but has excellent performance – to the layperson, who is the better magician? This text synthesises the theories of magic and performance, in order to create a new analytical tool for the improvement of the skills of the close-up magician. It takes Kowzan’s (1968) 13 Point System as its basis to formulate a new analytical tool. The Issitt 12-point System can be used to analyse a performance of close-up magic and assist in the teaching of performance skills. It offers that the close-up magician’s set comprises three discrete areas: Technical Ability, Performance and Audience Relationship. It suggests that a close-up magician’s practice can be enhanced when all the elements within the new System are considered. The Issitt 12-point System has been tested on the writer’s own practice, that of an apprentice magician, and an expert in the field of close-up magic, Fay Presto. i Practitioners in other forms of magic, other performance fields and beyond may consider the new System as a model which can be adapted within their own disciplines. ii Contents Abstract .................................................................................................................. i List of Figures ......................................................................................................... v List of Appendices ................................................................................................. vi Acknowledgements .............................................................................................. vii Declaration ........................................................................................................... ix Introduction ........................................................................................................... 1 Chapter One – Literature Review ........................................................................... 11 Chapter Two – Methodology ................................................................................. 26 Chapter Three – Performance Theory and Actor Training ........................................ 32 Performance Theory ...................................................................................................... 32 Kowzan’s 13-point Sign System....................................................................................... 35 Stanislavskian Theory and Actor Training ........................................................................ 38 Chapter Four - Creation of the New Analytic Tool ................................................... 43 The Creation of Two Stories............................................................................................ 44 Practice versus Rehearsal ............................................................................................... 49 Character as Persona...................................................................................................... 51 Audience and Magician Relationship .............................................................................. 52 Play Theory and the Acceptance of the Game ................................................................. 53 Willing Suspension of Disbelief ....................................................................................... 55 The Importance of Performance ..................................................................................... 58 Kowzan’s 13 Point System .............................................................................................. 59 The Background of the Issitt 12-point System .................................................................. 65 Creation of the Trick to Performance diagram ................................................................. 67 iii The Creation of the Issitt 12-point System ....................................................................... 71 Technical Ability Subsection ........................................................................................... 72 Manual Dexterity........................................................................................................ 72 Effect Rehearsal .......................................................................................................... 74 Self-Knowledge ........................................................................................................... 76 Ease Under Pressure ................................................................................................... 77 Performance Subsection ................................................................................................ 78 Character..................................................................................................................... 79 Voice ........................................................................................................................... 81 Timing ......................................................................................................................... 83 Movement .................................................................................................................. 87 Audience Relationship Subsection .................................................................................. 90 Appearance ................................................................................................................. 91 Approach..................................................................................................................... 92 Communication .......................................................................................................... 94 Experience .................................................................................................................. 96 Chapter Five - Testing the Issitt 12-point System ..................................................... 98 The Writer’s Practice ...................................................................................................... 98 The Expert’s Practice .................................................................................................... 103 The Apprentice’s Practice ............................................................................................. 105 The Viva Performance .................................................................................................. 107 Preparations ............................................................................................................. 108 Audience Control ...................................................................................................... 109 Suspension of Disbelief / Misdirection .................................................................... 112 Comedy moments driven by the audience / adaptability ...................................... 115 Giving the magic to the audience ............................................................................ 116 Conclusion ......................................................................................................... 118 Appendices ........................................................................................................ 122 Appendix A .................................................................................................................. 122 Appendices B – W ........................................................................................................ 123 Glossary of Terms ............................................................................................... 124 Biographies of Contributors ................................................................................ 126 Reference List .................................................................................................... 127 iv List of Figures Figure Page 1 Kowzan’s 13-point Sign System………………………………….……………… 36 2 Development Towards a Close-up Magician’s System………….……. 38 3 Intersection of the Close-up Magician’s Stories……………….………. 47 4 Kolb’s Experiential Learning Cycle……………………………………………. 68 5 Trick to Performance…………………………………………………………….…. 69 6 Issitt 12-point System ………………………………………………………………. 72 7 Viva Performance Restaurant …………………………………………………. 108 8 Writer Performing the Rope Trick 1 …………………………………………. 110 9 Writer Performing the Rope Trick 2 …………………………………………. 111 10 Writer Holding Group’s Attention …………………………………………….