Strong Magic is a book written by Darwin Ortiz that explores the principles and techniques behind creating strong and effective magic performances. Ortiz, who is a renowned magician and magic consultant, shares his insights and experiences from years of performing and studying magic. In Strong Magic, Ortiz emphasizes the importance of understanding the psychology of the audience and the performer. He argues that magic is not just about fooling people, but about creating a meaningful and memorable experience for the spectators. He believes that a strong magic performance should be more than a mere trick; it should tell a story, evoke emotions, and engage the spectators on an intellectual and emotional level. One of the main ideas in Strong Magic is the concept of the Dramatic Arc, which refers to the structure and flow of a magic routine.
Our main character in this film is a small, eight-year-old girl named Shula. She isn’t originally named Shula. She is unnamed at first, a threat that has suddenly appeared on the horizon and dubbed a witch. No one knows where she came from, who her parents are, and she refuses to speak properly. Surly and serious, the people immediately have decided that she must only be a witch.
The girl, later named Shula, that is the uprooted, by her companions in the camp, is accused of witchcraft by a local woman who, walking from the village well with a bucket of water balanced on her head, encountered Shula in the road and collapsed before her; she claims the child has bewitched her. In August this year Zambia s Human Rights Commission stated that it was deeply concerned at the growing pattern of killing older persons on suspicion of witchcraft , and while the country s Witchcraft Act prohibits anyone from indicating any person as being a wizard or witch , this phenomenon continues today.
One of the main ideas in Strong Magic is the concept of the Dramatic Arc, which refers to the structure and flow of a magic routine. Ortiz argues that a magic performance should follow a narrative structure, with a beginning, middle, and end. He advises magicians to carefully consider the order of their effects, the pace of the routine, and the overall presentation in order to create a compelling and cohesive performance.
I Am Not a Witch review – straight-faced satire on Zambian witchcraft casts a spell
Z ambian-born Welsh director Rungano Nyoni has delivered a pulsingly odd and strikingly original debut: a tale of dogma, prejudice and corruption in the country of her birth. It’s a strange witches brew of deadpan farce and arthouse stillness that some will find exasperating, and it’s not without its missteps; but there’s a confidence and clarity of vision that’s hard not to admire, especially for a first feature.
Events open with Shula (Maggie Mulubwa), a shy and inexpressive orphan, being accused by her fellow townspeople of witchcraft: one woman has alleged that she made her trip over while carrying a bucket of water, and a man has backed up her allegation with his own account of the girl chopping of his arm with an axe. (Said arm has miraculously reattached itself by the time he makes this claim.) A gloriously droll police officer indulges these accusations with a mix of apathy and outright disdain, but the will of the people is clear, and Shula is exiled from the town.
Good Time review - Robert Pattinson sticks up for his brother in chaotic heist movie Read moreShula falls into the care – though that word is used with a degree of caution – of Mr Banda (Henry BJ Phiri), a venal and desperately inept public official who spies an opportunity to make a fortune from the girl’s supposed gifts. She’s swiftly enrolled into a witch camp, a shabby conurbation on the edge of town whose occupants are, Shula aside, exclusively elderly women. Shula has a white ribbon attached to her back – the other end is attached to a large spool – and is told that if she cuts it she will become a goat. The presence of the ribbon naturally brings to mind Michael Haneke’s The White Ribbon, and there are certainly the same themes of puritanism as seen in that film, albeit expressed in a far less austere manner.
Soon Shula is being put to work, picking criminals from lineups, appearing on talk shows in full witchy get-up, and attempting to summon rain to the dried-up region. Shula does all of this grudgingly, far more sceptical of these superstitious beliefs than the adults around her – although it is notable that the general belief in witchcraft seems to be conditional, and tends to be expressed more vociferously when there’s a benefit to doing so. Many of the witches, for example, are elderly relatives who family members were keen to dispose of, and a tourist industry has built up around the camp.
I Am Not A Witch. Photograph: film company handout
There’s a seam of straight-faced satire running through I Am Not a Witch that curiously brings to mind the naturalistic farce of The Thick of It. Phiri is excellent as the officious Banda, a snake oil salesman frequently upended by his own incompetence, reminiscent of Chabuddy G in People Just Do Nothing or David Brent at his most brazen. Yet Nyoni never lets the comedy overwhelm our outrage at the treatment of Shula, especially when events take a troubling turn towards the film’s conclusion.
For all its charms, there is a languidness to Nyoni’s film that can become aggravating. Scenes that should pass by in moments outstay their welcome, and the film sometimes prioritises aesthetics over clear storytelling, with one of the film’s most crucial moments rendered difficult to understand due to a tricksy camera shot.
Still, there’s more than enough here to mark out Nyoni, whose film has been supported by Cannes’ Cinefondation Residency, as a major talent. In the staid and Eurocentric world of arthouse cinema, she looks set to be a significant new broom.
Satire, humour, eccentricity and clever dialogue evoke a range of emotions. Many scenes are bizarrely entertaining and yet ultimately the film, and the many serious themes it covers hit like a punch in the stomach.
Another key idea explored in Strong Magic is the concept of naturalness. Ortiz argues that magicians should strive to make their magic routines as natural and believable as possible. He believes that false and exaggerated movements, unnatural patter, and obvious tricks can ruin the credibility of a performance. Instead, he encourages magicians to focus on subtleties, misdirection, and audience management techniques to create the illusion of real magic. Throughout the book, Ortiz provides practical advice and techniques for improving one's magic performance. He discusses the importance of scripting and rehearsing, the effective use of humor, the use of props and gimmicks, and the psychology of spectator management. He also shares anecdotes and examples from his own performances to illustrate the concepts he presents. Overall, Strong Magic is a valuable resource for any magician who wants to create powerful and memorable magic performances. It offers a deep understanding of the psychological and technical aspects of magic, and provides practical techniques and advice for improving one's skill and performance. Whether you are a beginner or an experienced magician, Strong Magic offers valuable insights and perspectives that will enhance your magic performances..
Reviews for "Unmasking the Secrets: Darwin Ortiz's Strategies for Creating Unforgettable Magic"
1. Emma - 2 stars
As someone who loves magic, I was really disappointed by Strong Magic by Darwin Ortiz. While the book claims to provide valuable insights into the art of magic, I found it to be overly complex and overly technical. The author seemed more interested in showing off his knowledge and skills rather than providing practical advice for aspiring magicians. The explanations were convoluted and difficult to follow, and I felt like I needed a PhD in magic just to understand the concepts. Overall, I found the book to be frustrating and not very helpful in enhancing my own magic performances.
2. John - 2 stars
I really wanted to like Strong Magic, but unfortunately, it fell short of my expectations. The author tried to cram too much information into the book, making it overwhelming and confusing. I found myself getting lost in the technical jargon and complex explanations, which made it difficult to apply the lessons to my own magic performances. Additionally, the book lacked clear examples and illustrations, leaving me struggling to visualize how the techniques should be executed. While it's clear that the author has a deep knowledge of magic, his approach in this book made it inaccessible for beginners like myself.
3. Sarah - 3 stars
Personally, I didn't find Strong Magic by Darwin Ortiz to be as groundbreaking as many others claim. The book covers a wide range of topics related to magic, but I felt that it lacked depth in each area. It seemed like the author was just scratching the surface of each concept, leaving me wanting more. Additionally, I found the writing style to be dry and lacking enthusiasm, which made it difficult to stay engaged. While there were some interesting insights scattered throughout the book, overall, I found it to be underwhelming and not worth the hype.
4. Michael - 2 stars
I had high hopes for Strong Magic, but unfortunately, it didn't live up to its reputation. The book is filled with lengthy explanations and technical jargon that made it a chore to read. Instead of providing practical advice that can be easily applied by magicians, the author seemed more interested in intellectualizing magic. I found myself losing interest quickly and struggling to gain any useful insights or techniques. Overall, I was disappointed by the lack of practicality and the excessive focus on theory in this book.