Kenton Knepper - Weird Enough.pdf

(2708 KB) Pobierz
Is This Really Weerd Enough?
The short document on magic and mentalism, which you are reading, covers some simple
ground. Much of it is so simple; many folks will be completely unaware of the power
within. That is why this document is of real value to real performers. It is simple
material. That alone should make this work
"Weerd",
Perhaps it may be popular these days to applaud that which is overly complex. Anything
to the point is just too simple for which to pay good money some will deride. The
emphasis of a text is often on how much paper it has used, not what is written upon it.
Therefore, judgments are made that call any book over 120 pages worth thirty-five
dollars or more, and those with less than twenty are presumed meaningless pamphlets.
At least that is the way it was. That is the way it is still for some less enlightened types.
But more and more real performers in this day and age recognize the value of the thought
being communicated, rather than the physical paper or ink.
Some folk' think that once they read a booklet, if it wasn't "long enough" the material
contained within must be of little value. That or much more explanation should be
demanded of the author. All must be spelled out in gory detail or one simply cannot
"learn". If one could learn on one's own for heaven's sake, why would anyone need the
written works of others. If a reader does not instantly understand the value of the written
word, they need not have to think. Instead, they must demand a full refund. That is what
some appear to think these days.
I recall a creator and dealer I know and respect saying, "Fine, I shall refund your money
for the information you have now lodged within your mind, if you will gladly remove
these ideas of mine from your brain. I have sold you ideas and information - not pieces
of paper. You are confused as to what constitutes the value of a text. Returning the
paper, which I used to communicate my ideas, is not returning what you have gained.
Give me back those ideas in your mind, and I will give you back your money". Let's not
forget - a $1,000.00 bill is only ONE sheet of "paper" too.
But you can make such notions comprehensible to intelligent people in the first place
only, and such people do not ask for refunds from a lack of trial or deep contemplation.
Nor do such types base worth on the number of tricks provided. Amazingly real
professionals care more about quality and inspiration than quantity.
Then there is the curse that once something is put into print, an author must never
change; one must assume their same exact written posture for the rest of his or her life -
regardless of new experiences. This is a frightening notion in essence saying that
teachers should teach, but they should not learn and grow. Ofcourse, the best teachers
do both. With mounting frustration from outsiders who do not care to understand, many
teachers size up the situation so rampant these days and quit teaching. Who can blame
them? Mainly those types who have repeatedly admonished the teachers and their efforts
are those who will squawk most loudly about their absence.
Amazing then that anyone in magic or mentalism wishes to publish anything, given such
events and attitudes. But some performers do wish to teach via publication. Why they
do, I do not know. I could ask my friends, and myself, but we rarely have an answer to
this quandary. The most common answer is, "We cannot help it". But that seems an urge
more inward and mystical than pragmatic.
I will say that I have found that it is not "me" that does most writing. If I choose to write
something, I sit down at the keyboard like a medium at a seance in front of Ouija. I place
my hands in position, and off they go. Sometimes what is saidthrough me this way gets
me in trouble. But that happens when I am consciously willing to communicate too, so
what's the risk? Most"tricks" of course are another matter entirely. Magical effects may
come to me this way, but only after much argent performance can it fall into print for
othersto discover as joys.
I say this, although it is not "me" saying it, as an introduction I suppose to another rather
odd excursion. Another traversing into a void of darkness from which, if I am very
blessed, some light may emerge for you. More importantly to you I would guess is what
you may find of yourselfwithinthis littlejourney. I have no idea what you will find. I
am not tryingto teach you whatyou shouldbe. You must accomplish that task for your
Self.
I do hope along the way you will find manya concept or effectthat is exhilarating or at
least along your lines ofthinking and performing, or a little of each. Most of all I hope
you can see beyond the white background or the blackforeground and how much
appearance there is of both. If that is what you find of best value, you should go
elsewhere. If what you treasure most is that whichmoves something withinyou to new
considerations and actions, then it is my sincere hopethat you will enjoymost fondly.
As I write this I am reminded that this will be released to those at the very last Weerd
Weekend hosted by my friend Docc Hilford,
in
November 2000. Docc has been a fine
teacher for quite sometime now. I meanthis in everybest sense ofthe term. It is not
surprising then that he and a few of his friends shall consider growing and moving in new
directions again- bowing away from the publishing of magical illusion. That I truly
understand.
I cannot say where I will be lead next. But I do hope you will enjoythis shortjaunt into
the edges of Weerdness. This is dedicated then, to my friend Docc. Thanks for making
me see things in a way most Weerd. We shall all miss our yearly meetings, but I pray I
shall neverhave to miss your friendship.
-Kenton-
October 2000
2
The Channel
A battle cry at Weerd Weekend for years was "No card tricks"! This effect is a great deal
of fun, even if it is a card trick. If you view this effect as "just a card trick" however, you
will be missing the point. If you think this trick is worthless because "it's only a one out
of twelve revelation", you are completely confused as to this effect's purpose. It is FUN.
It
is SO fun it is almost scary. In fact, some people think this trick IS scary. Others say it
is scary fun. What more can I say except, IT'S WEERD.
The look from the audience view is a spectator deals some cards silently to the table,
while the performer's back is turned. The spectator then places a card into his own
pocket. Finally he reassembles the deck and the performer turns back around.
The performer refuses to touch the deck. Instead, he tells everyone he will "channel" the
spectator. So saying the performer drastically changes his posture and attitude. He
closes his eyes and begins to deal down invisible cards, all the time muttering to himself
about what he is doing. The spectator is a bit uneasy as he recognizes these are similar to
the thoughts and actions he himself had silently made.
Suddenly the performer seems to "snap out of it" and looks around at his invisible
dealings. As he analyzes the invisible layout, he names precisely the number of cards the
spectator had previously dealt - including the card in his pocket. Remember that the
performer never touches the deck.
How can this be? First let's look at the easy but not-as-fun part. The deck is a stacked
deck. I use only the top ten to thirteen cards as a stack however. This means I can
shuffle, cut, and do all sorts of things to the cards - as long as I keep the top thirteen
cards intact.
These thirteen cards I have marked on the back. This is no fancy ordeal actually. The
top card of the stack is marked with a small number "1" on it at both ends. I originally
used Ted Lesley's excellent marking system for this effect. I still recommend this when
you can get it. If you cannot find this wonderful set of marking tools, I also use the now
common gel-pens that essentially contain "white out" in ballpoint pen form to do the
marking. Yeah, that alone should be worth the price ofthis manuscript to some of you.
3
Since I have thirteen cardsto care about exclusively, I need markjust thirteen. Each is
marked with a number, but no suit. I can remember the same thirteen cards in the same
orderwithout too muchof a headache. I hate to try and memorize such things, but this is
SO easy after a few attempts. These stacked cards are marked 1-13 in order from the top
down.
If that is not to your liking use a simple stack you already know. I used the thirteen spade
cardsin order no less, when I first beganperforming this effect! That was prettybold,
but the audience never sees all of the top cards anyway, so I did that before I memorized
thirteen cards. Do whatyou will, naturally.
The marked thirteen cards are on top of the deck in order, marked card #1 on top. I
instruct the spectator beforeI
tum
around that he is to deal cards face down one at a time
on to the table into a pile. He is also to recall how manycards he has dealt on to the
table. This is important, so be surehe understands. He should
deal quietly though
so
you cannot hear how many
cardshe is dealing of course. Noticethat this last
instruction also reminds him
indirectly
to deal the cards one at a time. I love sneaky
phrases like this, as you know.
The spectator is to tell you when he has stopped dealing, or maybe you can tell him - if
you are a mentalist. Just before you tum your back remark,
"Let's keep this shortand
deal say aboutten cards or less so you don't forget how manyyou dealt, and mainly so
this won't take all night, okay? It's really boring otherwise"!
Find your own words and
style naturally, but you get the drift. This subtly tells him to staywithinthe top thirteen
cardsor under without beingobvious. You have overloaded the spectator now with so
manyinstructions he will likely do all he can to get it right. This is devious stuff. Put the
emphasis on BOREDOM and "taking all night" and "then we'd have to do it allover"
and then LISTEN as he deals.
In my experience, you can TELL whena spectator may be taking too long to deaL If you
get this feeling, remind them not to take too long, ten cardsor less,that it will take
forever otherwise, that sort ofthing. You MIGHT have to say this, but usually you do
not. I've said it four or five times now in I cannotsay how many years. Of course, do not
choose a completely rebellious personto use
in
such affairs.
Once the spectator has stopped dealing, ask him if he knows how manycardshe has dealt
himself. If not, tell him that's okay. Regardless he is to look at the top card of the
deck.
He is to place that card into his pocketwithout showing it to anyone else. Finally, tell
him to pick up the pile on the table and place
the entire pile back
on to the top of the
deck. Point out this way you could not tell how manycardshe dealt himself.
NOW we get to the fun part! You
tum
aroundand glance at the deck as you say,
"I don't
want to touchthe cardsat all",
You don't have to touchthem youjust looked to see
the marking on the top card of the deck. This number tells you how manycardshe dealt.
4

Plik z chomika:

Inne pliki z tego folderu:

Inne foldery tego chomika:

Zgłoś jeśli naruszono regulamin