More about Joe Stuthard

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I promised to write a bit more about Joe Stuthard. Well here you are: I first came across him when I was 14 years old at the Schoolboys and Girls exhibition in Olympia (or was it Earls Court) exhibition centre.  Here is the tale as recounted in my memoir, “The Lives of a Showman”

I continued wandering through the exhibition, turned a corner and lo and behold, there was a magician! There was a big sign saying, “JOE STUTHARD-THE CANADIAN FUNATIC.” He had a clock sign with movable hands and another sign saying, “next demonstration at……” He had a very large crowd around him and he was in the middle of a demonstration. And what a demonstration it was! He was absolutely superb. I was stunned watching him and I remember thinking, “I want to be as good as that!” He did the magic mouse trick and it was absolutely unbelievable. It scurried across his hands, and in and out of a glass. I could have sworn it was alive. Then he demonstrated the Svengali deck. It was the greatest performance of card tricks I have ever seen. I have seen many magicians perform card tricks since, including the greatest names in magic, but I have never seen anything to equal what I saw as a fourteen year old kid, standing in a crowd at an exhibition watching a pitchman performing with a trick deck. For two hours I was enthralled.

When there was a lull in the crowd, I plucked up the courage to speak to this (to my mind) master magician. I certainly wasn’t going to go up to him, announce that I too was a magician, and offer to show him a trick like I did to the poor Thomas De La Rue man. Still, I desperately wanted the great Joe Stuthard to know that I was a conjurer. I was too shy to tell him directly so I tried to be subtle. “Do you sell fanning powder?” I asked. This is a special powder that magicians use to make a deck of cards slippery and easier to manipulate.  Of course, I knew full well that he didn’t sell the stuff but I wanted him to know that I was a fellow magician. He smiled and said, “No, we only sell the mouse and the cards.” I said, “OK” and walked away having made my point.

I never did buy anything that day, but I knew I had seen a great magician.

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More about Joe Stuthard

Showmanship and Presentation—-Final Excerpt

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Now how do you combat this “defensive resentment”? One method not for everybody is to have something sympathetic about you. If you are a youngster doing magic, not too precocious, you can often bypass the adult spectator’s defensiveness. He ALREADY feels superior by virtue of age and consequently does not feel threatened. He will feel sympathetic towards you and this gives you a distinct advantage. Similarly, if you are handicapped in some way you should not feel ashamed of exploiting this to win sympathy and disarm the spectator’s natural defensiveness.

Another way is to be humble-this is very soothing to the ego of the audience. If you have an air of conceit the spectators will doubly resent you. If you are modest your audience will build you up.

One way if it suits your personality is to affect an air of dithering or even incompetence. This can take the form of absent-mindedness or naivety. This will make the audience feel superior and more sympathetic towards you. However, as I have stated this style has to suit you.

Another method is to be friendly and human. You can even offer to teach them a simple trick if the situation warrants it. Get people to like you-their subconscious resentment will vanish if you are pleasant and HUMAN. I place special emphasis on appearing human; if you can do this, even making a slight mistake without appearing too incompetent, you disarm the spectator’s defences and he will grow to like you and liking you will help him to like your magic.

I once saw two mind readers appearing on  television within weeks of each other. One seemed ot give a far more polished performance than the other, doing what seemed stronger tricks, less long winded patter, and all the telepathy worked whereas the other fellow seemed to have a high failure rate. Yet strangely the slick performer did not get half the reaction that the less polished mind reader did. The reason I think was that the first telepathist was TOO impossible, TOO perfect and TOO slick. He had to fight all that “defensive resentment”. The second mentalist on the other hand seemed to have trouble getting his clairvoyance to work. However, when something did go right it got a sensational reaction from the audience. This, I believe was because the failures generated sympathy; the “defensive resentment” evaporated and when something did work it  caused an enthusiastic audience response.

A little more advice and then we’ll pass on to the next chapter.

1. If something goes wrong-never apologise. You will look weak and audiences dislike weakness. Rather, just make a joke about it and pass on to the next trick quickly. Very often people won’t know anything has gone wrong anyway if you follow my earlier advice of not explaining what is going to happen before it happens.

2.Try and see things from the audience point of view. This is not easy but it will help you considerably if you develop the ability to do this. You will be able to entertain people more effectively if you can attune yourself to their likes and dislikes.

3.Try and involve the spectators in your tricks. With many items you can do this automatically. Sometimes, however, you will have to use your imagination. Get them to blow on a card or shuffle the deck, ask them a question-but BRING THEM INTO IT.

There is a lot more advice I could give but there is no more space and perhaps it is best to learn by experience anyway, but I do hope the preceding guidance will be of value to you.

 

 

 

Showmanship and Presentation—-Final Excerpt

Showmanship and Presentation–Contd

The third type of onlooker is the one who tries to see “how the engine works”. He will try hard to figure out the secret and will look upon the trick as a challenge. He will attempt to assuage his inferiority feelings by bringing all his intelligence to bear upon the method by which the mystery is worked. From this type of spectator we often find magicians in the making. Since they don’t know how the trick is done they will often satisfy their ego by taking up magic themselves. Now THEY can mystify people! I’ll let you into a secret; that’s how I became a magician! I would see magicians on television and get so annoyed that I didn’t know the secrets that took up magic myself!

 

Now we come to the fourth type of spectator who fortunately is reasonably rare. This you should be thankful for because he is the hardest to entertain. This delightful fellow will be completely expressionless throughout your exhibition. He will assume a poker face and there is no way of telling whether or not he likes what you are doing. His “defensive resentment” causes him to be on his guard; he will not allow you to attack his ego by fooling him. If you meet this specimen do not be put off. By persevering you can often get him to crack and show a little reaction. Even if he remains blank faced it doesn’t mean that he is not enjoying your show. It’s just that his ego won’t allow him to show it. If you do your best you could find that your applause comes afterwards. This often takes the form of old poker face spreading your reputation to OTHER people who haven’t seen you. He won’t tell YOU he enjoyed himself-that would undermine his ego-but he WILL praise you and the word will often get back.

Showmanship and Presentation–Contd

Showmanship and Presentation-contd

 

I mentioned earlier a subconscious (in some cases, conscious) resentment that laymen feel towards magicians. Actually, defensiveness is probably a better word than resentment although both feelings are there to some degree. In most cases this is not manifested by impoliteness since the feeling is involuntary and even the spectator is probably unaware of its existence. This “defensive resentment” is a psychological state based on the fact that one’s self esteem is deflated by the very idea that another human being can perform actions that cannot be explained. This by itself implies superior ability on the part of the performer and tends to signify the inferior brainpower of the spectator thus posing a threat to the ego.

There are, I believe, a number of ways to combat this defensiveness but before I explain them perhaps it would be wise to show how audiences behave as a result of this feeling.

Broadly, I find that people react in four different ways to a magician, one of which as we have already discussed is by heckling. This happens in a minority of cases and to lesser or greater degrees.

The most common reaction and thankfully the easiest to deal with is the good natured spectator who will relax his defences and, providing the performance is good, laugh and enjoy the magic with all the gusto at his command. The threat to his ego is still present, but I believe a certain kind of subconscious reasoning happens in his mind. It goes something like this; “This fellow is extremely clever, I can’t even begin to figure out how he does it so I’m not even going to try!” By doing this he placates his ego. After all, he’s got a good excuse now for not knowing how the tricks are done; he hasn’t tried to figure them out! By giving up before he starts, he cannot be defeated. He’s not taking part in a battle of wits so he can relax and enjoy himself.

He may even go so far as to identify subconsciously your abilities with his own. In other words his inner reasoning goes like this:- “This fellow is as clever in his field as I am in mine. Since I am endowed with certain abilities this fellow this fellow must be brilliant too!” He will then confirm his own reasoning my making such remarks as, “It’s absolutely fantastic how you do it” Actually he’s praising himself on a subconscious level by admiring the performer. He sees a fellow genius and justifies his inability to figure out the tricks by deciding that the magician, like himself, is on a plane higher than the ordinary mortal. Since they are BOTH members of a superior persons club there is no reason for the spectator to feel resentment since it is now decided in his subconscious mind that he is just as clever as the magician.

The reasoning in the above paragraph may sound a bit far fetched and theoretical to the reader but I do believe from experience that this type of reasoning takes place in the dark recesses of the spectator’s mind. And we believe that he is totally unaware, on a conscious level that it is happening

Showmanship and Presentation-contd

And Again! Showmanship and Presentation contd….

Here’s more advice: try and make capital out of the situation, look for some amusing remark that won’t give offence (do NOT say, “We all make mistakes, your mother made one”) humour him, laugh with him and try to turn things to your advantage. Oh, and don’t worry-we have a trump card. Patience, patience-I’ll tell you about it eventually.

 

More advice: if he says, I know how that’s done!” you reply, “That’s strange, I know how it’s done too!” If he then tells everyone the secret and he is right you deflate him by asking, “What do you want, –magic?” If his antics become TOO irritating I suggest you threaten to turn him into a frog. No doubt this will make him quail with fear and he will immediately go as quiet as a mouse and treat you with the respect you deserve. If for some reason even this maser stroke doesn’t completely succeed, well, you have the trump card to fall back on. All right, all right. We’re coming to it, I promise. But first, a little more advice on this subject.

 

Probably the best protection against the heckler is your own competence. After all, if you do your stuff well there is less opportunity for interruption. If you perform fluently and as if you know what you are doing it will tend to dissuade the pest from tormenting you. Everyone likes to watch a master at work, even the heckler. If you are exciting and entertaining this will often be enough to quell mutinous spectators. On the other hand, if you are ill at ease and awkward, not only will you cause the audience to experience the same feelings, you will be inviting trouble, as sure as the sun rises in the east. Your attitude is all-important; if you are humble you will tend to make people like you, and the more people like you the less heckling you will experience. Conversely, if you are arrogant and superior when you work, you will attract confrontation like a magnet, and well you will deserve it. Contrary to what you might expect, a little heckling is good for you. It keeps you alert, on your toes and teaches you not to be too complacent. It will encourage you to practice; when the loudmouth says, “I saw you switch that card!” he’s actually doing you a favour. Maybe you’ll practice so hard that next time he won’t see you switch it.

 

Oh, I completely forgot-the trump card! Well, dear reader, it’s called a SUCKER TRICK. There are a number of them in this book and using any one of them at the right time is the surest way not only to deflate your tormentor but often to make him your biggest booster. These are tricks which look as if they’ve gone badly wrong, but at the last minute the poor magician extricates himself from his dilemna, and turns the table son everybody by amazing them after all! This type of trick is especially effective for hecklers because they fall into a trap; at first they are delighted that the magician has had his comeuppance, they are flushed with triumph and often loudly mock the performer for his incompetence. However, when suddenly everything turns out right in the end, the gales of laughter from the crowd are usually directed against the heckler who then after his initial surprise and embarrassment, usually admits defeat and nurses his bruised ego by strangely praising you to the skies and becoming one of your biggest fans. In my experience, I have often found these former opponents have spread my reputation far and wide, they get their feelings of importance now, not by heckling but by bragging that they know me, and most incredible of all, get loudly indignant if anyone else dares to heckle me if they happen to be watching!

 

That’s my advice on hecklers; it’s taken up more space than I intended but I think it’s useful advice since beginners probably get more heckling, especially from family and friends than anyone else.

 

One word of warning, though. If you should happen to see a professional magician deal with hecklers you may be confused since he will probably use a different approach to the one outlined above. He may utilize what are known the trade as “hecker stoppers”, that is one-line gags, usually derogatory and personal that attack the heckler. Well, don’t feel confused; these people work under different conditions to you. They often perform in sleazy places, to inebriated audiences and they have to keep the pace of their act going without wasting too much time on the perpetrators of drunken interruptions. And they have one big advantage you don’t have-a microphone. No heckler can compete against a microphone-his insults are heard indistinctly whereas the performer’s remarks cutting him to ribbons come out crystal clear.

 

As I said before, this book is not for the professional magician. If you perform close up intimate card magic in social and business situations, all you need to know about handling hecklers is the advice we’ve given you and the knowledge you’ll get from experience.

 

And Again! Showmanship and Presentation contd….

Showmanship and Presentation contd…….

This extract is about dealing with hecklers in an impromptu close up magic environment. I am going to divide it in two parts because it takes up a lot of space. This is the first part. The second part will be in the next extract:

I would however like to give you a bit more advice before we go on to more tricks.

First of all, hecklers. Unfortunately, in this sad world there are those unenlightened souls whose only pleasure in life is to wreck the magician’s performance. The will insist on loudly proclaiming that they know how the trick is done (they very rarely do) and that all magicians are fakes. The will insist on shuffling the pack at inopportune times, they will spot the palmed card in your hand and will brag that they once had a magic set.

There are three solutions to the above problem:-

  1. Curl up and die (for the timid among you).
  2. Punch your tormentor on the nose (for the not so timid among you).
  3. Read on and peruse my advice.

Now let’s see. We do not recommend the first solution on the grounds of bad showmanship. Neither do we particularly get excited over the second option. It will distract from the performance and besides, our heckler friend (?) may be bigger than you.

That leaves us with the third solution. Read on, dear reader, read on.

You must first realise that you are there to entertain people, even the nasty heckler. Tempting though it is to retaliate and be rude right back it is wise not to lose your temper. If you are quick witted and have a little bit of cunning about you it is possible to turn the pest into an asset, or at least quieten him down.

If, on the other hand, you try to answer him back the performance could easily deteriorate into a slanging match which is not quite what you originally intended. Besides, the more you argue the more he’ll persist in wrecking the show. You will also find that by resisting him you may alienate the rest of the audience because you are attacking one of their number. We find that people are perverse and although some of the spectators will be annoyed by the pest, others for some psychological reason will tend to side with him, especially if he is not TOO obnoxious. This is probably because people have a subconscious resentment against being fooled. They feel somehow inferior to this sharp trickster who is deceiving them so convincingly and they react with delight when the clever so and so runs into trouble. This being so, they may identify with the heckler especially if the magician has a smart alec see-how-clever-I-am air about him.

One other reason not to trade words with the bore is that if destroys what actors call the “suspension of disbelief”. To explain this, when you watch a movie or theatre play you are absorbed completely; you know in your heart of hearts that the actors are only playing a part, that what is going on is not real, but for the moment while you are watching you SUSPEND your disbelief momentarily reveling in the illusion that everything is really happening. However, if a piece of scenery drops backstage or the movie projector breaks down you are quickly brought back to reality and the “suspension of disbelief” starts to disintegrate. Similarly with our magician; he creates the illusion that what he does is magic; of course, at the back of their minds the spectators (unless they are extremely gullible) know that it is not magic, but for the moment while they are enjoying the performance they are willing to “suspend disbelief”. However, let the performer start arguing with the heckler or tell him to shut up and the whole process will disintegrate very rapidly. Our magician is no longer superman; he actually does mundane things like get annoyed. This maker of miracles is just an ordinary mortal after all,-well, what an anti-climax! Our hero who was dazzling everyone a moment ago with feats of astonishment now shows himself to be just a normal human being who demeans himself by arguing with the lower orders. After all, if he was a real magician, he wouldn’t waste time in conversation-he would simply make the heckler disappear!

No, answering back is not the solution to our problem. A better plan is to try and be nice to the nuisance. This will take the wind out of his sails and might make him feel guilty! Of course you might say, “Love thine enemy” is easier said than done. Well, persevere, persevere. Try and get on his side, even flatter him a tiny bit. You can even let him bully you a little for you have a trump card. We’ll tell you about it soon.

 

 

Showmanship and Presentation contd…….