Do Angles Matter?
Can you *really* perform magic from all angles?
I've been thinking about this for a couple of days. For instance, when I do a Double Lift, if I have a spectator to my right (I'm right-handed, holding the deck in my left hand in Dealers Grip), and I already have a pinky break, the spectator, who's looking right at my hand for the reveal of the "first card," might easily spot that I'm holding a break.
So my question is, should we try to keep spectators in controlled angles, or should we also learn to perform magic from all angles?
Any tips for controlling these angles?
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It depends on what you're doing; sometimes you can, sometimes you can't.
Everything has its angles (or lack thereof). 😊
@Jess:
Right, so just don't do it that way when you're in that situation.
Learn to hold the deck normally and don't take the double until the moment you actually lift.
There are over 20 ways to get a double at the moment of execution without needing a pre-set break.
I get that when you're starting out, it's the way we feel most confident, but it's not the best. (just like taking a huge pinky break)
I suggest you practice developing "the feel" for it, and that's it.
It won't click at first, but with persistence, you'll be able to differentiate and lift 1, 2, or 3 cards, whatever you need, with ease.
Hey!
To be honest, magic usually has angles. Many parlor or stage magic effects have a specific viewing angle you have to protect, otherwise the secret would be given away.
Another example: in social media magic, there are quite a few effects that can only be performed under very specific conditions, with precise angles.
The same goes for card magic, in my opinion; there are angles that could give away the trick. But that's where we magicians need to step in, either by blocking off those specific angles, using misdirection to keep them from noticing a Pinky Break, or simply concealing it from the view of spectators who have the best chance of seeing it.
I hope I've made myself clear, and I'd love to hear if any other magicians want to share their insights.
Oh, the angles!
This reminds me of reading Florensa's Cartomagia Fácil. It starts by going over cards and how to position yourself for magic: the audience always in front and slightly above. I jotted that down, but then I saw Tamariz; he packed us all in close. Fully surrounded, he started performing miracles. In fact, it's a hallmark of the Madrid Magic School. You can see this with Carroll (for example, performing his Suit Apparition) and Daortiz (for instance, in his Concordancia numérica — where he holds a break under 4 cards).
Clearly, some effects have bad angles, but those can be worked around. What I can't stand, in my opinion, are tricks that only have one good angle (to me, that's just a camera trick).
Bad angles can be handled with coverage techniques (what Ascanio would call 'defensive' techniques). And that ranges from misdirection (disarming questions, a relaxed demeanor, seamless movement, a subtle 'look without seeing' gaze—you know, that thing where you're looking at them but not really seeing anything, haha) to the overall timing and construction. Just look at Daortiz's effects: when he's holding a break, your attention is drawn everywhere but the deck, all thanks to the way the routine is structured.