Loïc FONTAINE

Un truc qui a l'air énorme: Genii Online Archive Apparemment l'ensemble des pages de Genii de 1936 à 1998, ainsi que les Conjuror's Magazine sont dispos en ligne pour un montant ridicule de 200$ (unlimited use). Couplé en plus à un moteur de recherche! Y en a-t-il qui ont déjà expérimenté?

Il a participé au concours de close-up à la FISM. Dommage qu'il ait eu un plantage car il avait un très beau numéro original.

Franchement on s'en tape un peu que tu regardes plus l'émission.

Tu as ce produit-ci chez Doug Malloy: FREEDOM microphone holder Dispo aussi chez Hocus-Pocus pour 5$ de moins (fait une recherche sur "microphone").

Si je ne me trompe pas, ce ne sont pas des DVD's mais des ebooks. Soit une version digitale et non papier avec quelques clips vidéo de certaines techniques choisies. Je n'en sais pas plus puisque je ne les possède pas.

Un complément indispensable à ce que tu choisiras comme support vidéo est l'achat des Card College de Roberto Giobbi. Une merveille de détails et de subtilités. A acheter les yeux fermés.

Euh... c'était pas déjà avant du foutage de gueule??? 100€ pour 6h à faire le clown dans une allée de supermarché. Ca par contre, je suis pas sûr que ce soit un mal. D'un point de vue purement personnel, je serais ravi de pouvoir faire quelque chose qui me soit personnel. Je serais plus efficace qu'en interprêtant le tour et texte créé par un autre. D'accord avec toi par contre que cela devrait aussi se traduire en bonus sur le cachet. Note: je ne me serais pas permis de critiquer sans avoir travaillé pour eux. J'ai testé sans à priori et à fortiori plus jamais!

:grin: Et oui à l'époque des forums, textos, mails,... la plupart oublie qu'il n'y a rien de tel qu'un coup de fil ou même de se rencontrer pour boire un verre ou manger un bout ensemble. A l'époque de mes grand-parents, bien souvent on osait même arriver à l'improviste chez les gens avec une tarte pour faire un petit coucou. Des dingues je vous dis!!! Ah... nostalgie quand tu nous tiens... Je suis loin d'être réfractaire aux nouvelles technologies mais aussi un passionné des contacts humains.... Hmmm... Rien n'empêchant de combiner les deux. Enfin tout ça nous éloigne du sujet. Créons donc une database!

Pour les bouquins, il y a déjà les sites suivants très fournis: magicbooks denisbehr

Il y a pas mal de références sur le sujet: Banachek, Osterlind, Falkenstein& Willard,.. Mes références récentes sont Blindfold Tips de John Archer et la conférence de Banachek à la FISM.

Bon et bien apparemment pas beaucoup d'amateurs de ce genre de routines...

Qu'utilisez-vous comme adhésif pour une routine de blindfold? Marque, type, largeur, fournisseur? J'ai trouvé pour ma part un ruban adhésif de la marque Tesa Power Tape Perfect qui est un adhésif noir en tissu plastifié de 38mm de large. Il fonctionne plutôt bien avec une pièce de 1$ mais est assez coûteux comme adhésif: 25€ pour 50m. Il existe pas mal d'alternative en 50mm de large mais 50mm de large ça rend plutôt aveugle ... Merci pour vos conseils.

Ci-dessous l'avis de Tim Ellis sur cette FISM. Un bon résumé des points forts/faibles. Source: ici Forum de la FISM dédié aux critiques: ici Tim Ellis said... Here we are in the Arlanda Airport getting ready to fly out of Stockholm. Having spoken to a lot of different people during the week, and having read the reports on various forums and blogs, I thought I might sum up some feelings from this weekof magic. (Feel free to add your own comments if you were there simply by clicking on the word 'comments' at the end of this post). PRE-PRODUCTION Superb. The publicity, build up, advertising for this FISM were the best ever. This Forum and the website were great! Logos and signage everywhere when you arrived and, though it was a little tricky to get from the airport to the city by train, then from the city to the convention centre, it was all possible. (At the Dresden Convention they had a FISM information stand at the airport itself which was a huge helpto us foreigners. Maybe China might consider this idea?) Registration at the centre was great and stress-free, the volunteers did an excellent job. We were able to register the day before FISM, but only between 1-5pm. It would have been great to extend that time to about 8pm for late arrivals as it's great to be able to read your schedule before the convention starts. Here's a challenge for China: When I ran the last Melbourne Convention, people received their registration kits when they checked into their hotels! Maybe that could be an option people could choose on their registration form? To do this, I simply cross referenced the registration list with the accommodation list and took each kit to the hotel receptions and instructed the staff to give them to the guests when they checked in. Pretty bold I know, and probably too hard to do for 2,500 people, but it work well for 250. As for the goody bag, it was very nice, but we are used to being spoiled from past FISMs and I think people were expecting a little more... maybe even a few discount coupons for local restaurants or shops, a little snack or gift or treat or something in addition the the standard cards and the promotional portefeuille (which was so well wrapped in the magic kit advert I think most people still haven't discovered it!) Maybe dealers could be encouraged to take advantage of the goody bag and give away a few samples. Another qualm was the program. I know that Anders Moden designed it as a compact (and well produced) livret that people could carry with them, but it was still too big for a pocket (though it did fit nicely in the shoulder bag... which was a more practical size than some we've received at past FISMs). But people pointed out they wanted a small, pocket size programme they could carry in their name badge. We've had those before and I think people are used to them. The FISM Daily news was excellent. Each day we couldn't wait to read about the previous days activities, changes to schedules, news etc. Well done! VENUE Very nice venue as far as a convention centre goes, but the Victoria Hall lacked atmosphere and was a terrible venue in which to view magic. A theatre with balconies is much more appropriate if you want everyone to get a good view and not have to watch the screens. (I wonder how China will go with their HUGE theatre?) The lighting was terrible as well, it was universally too dark and, as a consequence, sometimes the images on the screen were almost impossible to see. (On the other hand, the lighting on the final awards shows was too animated. Not only was it distracting and made it very hard to see what the artists were doing, but the position of the lights on stage meant that entire sections of the audience were blinded by lights shining directly into their eyes). The video operators looked like they had no idea what they were doing. Shots were chosen that were too tight so they revealed some effects, or too wide and we missed them. Sometimes the screens cut out completely and we just watched the FISM logo. We used Orsino Images here in Melbourne for our convention and, with only two cameras, they showed everything that happen on stage and close up in glorious clarity. It's the difference in spending the extra dollars and getting professionals. (But then, even on the final awards gala with the TLA camera crew, the camera work was still pretty shocking. The Close Up Room was good in theory, but simply did not work. I have some suggestions for a revamp of competition conditions I'll be forwarding on to FISM but with regards to what we saw we, as judges, had to watch the screen as sometimes we couldn't see the surface of the table. And the screen images had a two second delay which meant we were watching action out of sync with what was happening live. The smaller audience of 280 or so really had to watch the screens as well, so it could have been staged in a larger room if need be. My theory is that the close up should be restricted to one table with volunteers chosen by the organisers to sit around the table (for choosing cards etc). You can bring a box of props or a small case to sit behind the table with you, or you can just stand behind the table and not use it at all. But you cannot bring your own tables, stands, or karaoke machines... if you can't perform your act under those conditions, enter Parlour (which should be staged in a second room which is more like the close up room was in Stockholm). Anyway, directly behind the row of volunteers, on slightly higher seats, sit the judges, behind them on a higher row are more registrants and using this style of seating (as they do at La Double Fond in Paris) you can seat about 40-60 in "true" close-up conditions. You can then get away with one camera that, if framed correctly, does not need to cut away, and then have several smaller rooms with video feeds in them (or ideally, in order to create the best possible atmosphere) have this close up set up in a large room with screens in each corner with seating facing each screen. That way the performer can hear the reaction of everyone else in the room too. This same set up can be used for the Close Up gala too. However, the seats need to be ticketed. Maybe each registrant gets a good ticket in the room for one session (the earlier you register the better the seats). They can swap (or sell!) their tickets during the convention. If nothing else, it reduces the time that is absolutely WASTED by lining up for tickets to the close up comp (some lined up for 2 hours each day when they COULD have been watching lectures, the stage comp, or even just socialising!) Second - what is it with pushing in???? Are magicians really that ill-mannered, selfish and disrespectful? This happened each morning at the stage comp (people lined up for an hour in advance then, when the doors opened, others who had milled around the door not in the line at all just barged in and it became a free for all stampede. I heard that some registrants abused, gave the finger to, and even spat on ticket collectors at the door when they were told they had the wrong tickets! I can only imagine how these people treat their audiences when performing! Then, despite being told NOT to sit on the stairs or in the aisles people continued to do so. Does FISM need to hire ushers to physically move people who are so self-centred that all they care about is that they can see? Several times performers making "surprise appearances" in the audience almost tripped over people who weren't supposed to be on the stairs as they ran on to the stage. The close up comp at least became a little more civilised during the week when barriers were put up to corral the crowd. (Some didn't like it and "mooed" as a protest, but the behaviour of a minority made this necessary. Then at the banquet we saw more terrible behaviour... two big looooong lines, then as other people arrived instead of going to the end of the lines they went in the centre and filled in the gaps then barged in making those who had been waiting wait even longer. The only successful seating situation were the allocated seats in the gala shows. People walked into the theatre like human beings, found their seats and sat down. Unfortunately, one incident in the close up gala we saw sprang from a FISM volunteer telling people it was "free seating" when it wasn't. When ticketed people came to get into their seat they found others sitting in them who refused to move. The way this was handled by the FISM hosts was not professional either. It needs to be dealt with honestly, and in a fun way, to cause minimum embarrassment to people and to resolve the situation effectively. Instead it looked like a quarrel on stage with different organisers having different opinions as to what to do. Not only that, but because of camera equipment on the stage for the close up gala, many people not only couldn't see the performer, they couldn't see the screen either. They left... as you would. The venue seats were comfortable though, they had good names like Dante and Vernon, and they seemed to be at a pleasant temperature. I'll tell you what would have worked a treat... have some people strolling through the venues between sessions selling drinks, ice-creams and snacks! Finally, having the magic bar in a different venue was a TERRIBLE idea. Do not do that again. Den Haag got it right. People could mingle in the centre after the day's events or go downstairs to the vast (and cool) magic bar and party on to the wee hours. Instead you had to either leave the centre by train, go to the magic bar in the city, then catch a VERY expensive taxi back to the hotel - or if you stayed in a hotel at or near the magic bar you had to take a train trip in the the convention centre and back every single day. The Magic Bar was, however, a highlight for many people. They raved about the performances of Tamariz and Green (though they had to line up for over an hour sweating in the heat before they got to see them! Again.. maybe we get tickets in our rego kits for these events we can swap with other registrants? Why pay so much money to attend FISM and spend most of our time in lines? It's not Disneyland!) COMPETITIONS First of all, big kudos goes to the backstage staff who, I'm told were incredibly helpful to the competitors. This FISM featured some appalling acts that really brought the whole standard of the event down. The only people to blame here are the FISM Presidents who told FISM that these acts were good enough to compete. They were not! FISM may well have the right to penalise these Presidents by not allowing them to sponsor acts again (or maybe for the next two FISMs perhaps?) However, two Presidents who sponsored really bad acts were the Presidents of the SAM and IBM. Both are no longer Presidents so what can FISM do? Ban the SAM and IBM from submitting acts? I still think the idea that sponsors must pay a very large competition entry fee which they only get back if the performer achieves FISM level in it's score (at least 60 in my personal opinion). As a judge it can be difficult to red light acts that are simply bad (especially when the audience is laughing and enjoying their awfulness) and it would be much better if we weren't put in the position of needing a red light in the first place! I heard one act, who was truly awful and got a sarcastic standing ovation, telling professional magicians how well he'd done and bragging about getting a standing O. He simply had no idea that the audience were laughing AT him and would have simply not understood at all if we red lighted him. FISM Presidents be warned. Do NOT submit acts that are not ready for FISM. You KNOW the standard. I really hope FISM comes up with an effective answer to this problem. Other policing matters - VIDEOS and CAMERAS. Flash photography and videos were banned in the main hall, yet people kept using them. They were warned that their camera equipment would be confiscated, but did FISM follow through with the threat? If not, no wonder! If magicians simply cannot be trusted to respect their fellow performers then I would be in full favour of bag searches at the entrance to all FISM shows and anyone with a video camera would have to leave it in a cloakroom or a locker or they would not be admitted. This is done in theatre shows, musicals and concerts. If FISM has to start doing this then don't be angry at FISM, be angry at the minority who cannot obey rules. I even saw one guy standing with a video camera in the dealers room, pointed at the screen of a DVD player on a dealers booth which was playing a DVD he was selling. This JERK was making a bootleg of a video right in front of the guy who was selling it. The dealer could have stopped him and maybe it would have caused a scene... but can't there be some dealer room staff patrolling looking to throw people out who do this sort of thing? Also, there were two dealers who were caught selling rip-offs. Andy's Magic had a number of Menny Lindfield's items made in China, and Caesaral Magic had Angelo Carbone's 'Out Of Order'. Both were brought to the attention of the dealers. According to FISM rules they should have been told to packup and leave. Instead they were both told to stop selling the specific rip-off items in the dealers room. They broke the rules but the punishment was not dealt out. How does this look for 2009 when we go to the home of intellectual property theft China? The Chinese FISM committee have made a promise to stop rip-offs. We will be watching very closely to see if they live up to that promise. (Ironically, how many FISM registrants who hate rip-offs in magic will go to China in 2009 and buy fake Gucci, copy Rolex watches, and pirated Hollywood DVD movies?) LECTURES Apparently the lectures were all very good. The lecture theatres may have been a little small however, and the scheduling could have been better. There were many times when there were too many choices in the moring, and virtually nothing to do in the afternoon! Maybe some late night lectures would have been a good idea. Also no FISM should EVER again overlap the Stage and Close Up Competitions. This was totally uneccessary. A lot of people want to watch as many acts as they can. Let them have that opportunity! OPENING CEREMONY Having this AFTER the stage and close up comps and lectures had begun was silly in my opinion. It hardly felt like an opening as we were already well into the swing of FISM. It was an innovative idea asking 2800 people to stand in a dark, fog filled "aircraft hangar" for a hour and try to watch a small underlit stage on large underlit screens. The lasers and the ballerina-bubble were certainly different, but they didn´t work. And all of the balloons that were dropped that (I think) had some lotto tickets in some of them? (I'm not sure, I could hear the FISM President speaking) resulted in everyone bursting balloons in a frenzy of stamping... it seemed to create a more angry than fun atmosphere. The opening video where Dag Lofalk stepped through the water screen was effective though! GALA SHOWS What can you say... the stage gala was sensational (everyone has their favourite acts and their worst acts...) but the Nordic Gala was particularly weak, both in content and presentation. The close up gala was appalling. Mainly because of the terrible AV support with bad sound, lighting, staging and camera work, but many of the acts should not have been on the bill... or if so, should have done shorter sets. The worst thing was that, at past FISMS, we've had gala shows every night to look forward too. Not this time... I think that was a mistake China can't afford to make. BANQUET FISM 2006 sort of nearly got it right. 2800 people for a seated dinner is really an ambitious call. Kudos for doing it, however people felt the venue really needed a little atmosphere. The acts were fine, a dance floor would have been nice. The thing that really let the night down was the sound system, people up the back couldn't hear well at all and started talking. People up the front were being deafened at times (which lead to an old man physically attacking Frank Wilson while he was playing! How do people like like this even become magicians?) THE AWARDS AND CLOSING Terrible. An unmitigated disaster. I'm sure FISM are currently brainstorming solutions to this as I type. I think the idea of filming FISM is a great idea (NHK TV have been doing it unobtrusively for years!) But there must be a better way so that we can leave FISM with good, positive memories and want to come back! STEVIE STARR This was a good innovation. Introducing an "allied arts" performer in their own show. I think one or two man shows are very good ideas and they introduce magicians to other forms of entertainment they may not have encountered before. So now we've had Stevie, what next for China... Puppetry of the Penis? OTHER THOUGHTS What do I want at a FISM? * Free Internet access in the centre. * Inexpensive food in the centre (several times the kiosk ran out of sandwiches before lunchtime was over... our dinner on the last day was a coke and a candybar!) * A specific show for "alternative" magic acts like Tatu. * The photo and poster displays were great. More please! * Some workshops about lighting, staging, make up, pyros, balloonology (maybe even good manners) would be a good idea for FISM. * A crazy, ever-changing late night stage show as an alternative to bar magic featuring us, The Flicking Fingers, Die Zauderer, MagicSports and special guests that has fun with the days events.

Ici un sujet concernant des méthodes pour stimuler la créativité que j'avais lancé sur un autre forum. Des réponses/pistes intéressantes y apparaissent avec des interventions de Dominique Duvivier, Arthur Tivoli, brunomagie, Steve Fearson,... Il serait intéressant lors des brainstorming de tester quelque unes de ces méthodes. A mon avis, on devrait aussi faire une distinction entre des groupes de travail actifs sur la création d'effets, ou de méthodes, ou de techniques, de textes,...

Cool. Merci pour ta réponse. Pour que le sujet soit complet. La liste des participants aux concours: STAGE COMPETITORS Aaron Crow, Belgium, Mental Magic Alex Ryazanov Russian Federation General Magic Alexandre France General Magic Andreas Axmann Germany Manipulation Andrély Portugal Manipulation Anton & Landru Argentina General Magic / Invention Arthur Trace USA Manipulation Bastrakov's Magic Russian Federation General Magic Ben & Alex France Stage Illusions Brando y Silvana Argentina General Magic Bravo Nakaya Japan Stage Illusions Brinum-X Latvia General Magic Cengiz Turkey General Magic Cesaral Magic Spain Mental Magic / Invention Chad Findlay South Africa General Magic Cody Stone Germany Manipulation Dai Binchun China Manipulation David Sousa Portugal Manipulation Die Zauderer Germany General Magic Dion Netherlands Manipulation Dream Makers Spain General Magic Duo Mira-Cool-X Switzerland General Magic Eduardo Kozuch Argentina Mental Magic Eduardo Kozuch Argentina Invention erix Germany Manipulation Fernando Arribas Spain Mental Magic Florian Zimmer Germany Manipulation Fujimoto Japan Manipulation Gaston Germany Parlour Magic Gennady Palchevsky Latvia General Magic George Marek Czech Republic Stage Illusions Grupo de Teatro Mágico da API Portugal Stage Illusions Gustavo Raley Argentina General Magic / Inventions Hayashi Germany Parlour Magic Huang Zheng China Manipulation Hugo Valenzuela Argentina Stage Illusions I.Ma.Gi.A Italy Stage Illusions Ilusionista Pedro III Spain Stage Illusions Jakub Kroulik Czech Republic General Magic Janis Germany Parlour Magic Jan-Thomas Loewe Germany Mental Magic / Invention Jerome Helfenstein France General Magic Juan Ordeix Argentina Mental Magic Julien Sweden Stage Illusions / Invention Junge Junge & der Römer Germany General Magic KARCH USA Mental Magic Karim Spain General Magic Kazuma Japan General Magic Keiko Muto Japan Manipulation Kenneth Chan Hong Kong, China General Magic Kristine Norway General Magic Kyoko Japan General Magic LATKO Argentina General Magic Lee, EunGyeol Republic of Korea Manipulation Magic Wave Netherlands General Magic Malin Nilsson Sweden General Magic Mann o Mann Germany Stage Illusions Manuel Muerte Germany General Magic Marc & Alex Germany Stage Illusions Marc Dosetto France General Magic Matthew Gore South Africa General Magic Mikael Szanyiel France General Magic Minuru Arai Japan General Magic Monsieur Brezelberger Germany General Magic Mr Avesta Netherlands General Magic Mr Jacoby Sweden General Magic Nana Hitomi Japan General Magic Nikolai Dmitriev Russian Federation Parlour Magic Nikolai Friedrich Germany Mental Magic Paolo Giua Italy Manipulation Park Min Soo Republic of Korea Manipulation Paulo Maderal Argentina Manipulation Peter York Austria Manipulation Pilou France Manipulation Radini Norway Manipulation Reggie Simon Sweden Manipulation Retonio & Co Switzerland General Magic Rey Ben Argentina Parlour Magic Richard Forget Canada General Magic Robert & Emiel Netherlands Mental Magic Rocco USA Parlour Magic Rolf Reiner Spain General Magic Ross Mickael et Bethy France Stage Illusions / Invention Sebastian Nicolas Germany Manipulation Senko Argentina General Magic Sergey Ferdzhulyan Russian Federation Manipulation Sergi Buka Spain General Magic Shawn Farquhar Canada Parlour Magic Simon Pierro Germany General Magic Sittah Netherlands Stage Illusions Tatu Finland Manipulation Ted Louis Germany General Magic The Magic of the Nightinggale USA Parlour Magic Timo Marc Germany General Magic Toritto Japan General Magic Vidar Strat Norway Manipulation Xavier Mortimer France General Magic Xavier Tapias Spain General Magic Yamagami Brothers Japan Stage Illusions Yasu Okai Japan Manipulation Zhao Yuying China General Magic CLOSE-UP COMPETITORS Stage name Country Category Alex Stone UNITED STATES Micro Magic Alexander Popov RUSSIAN FEDERATION Card Magic Brad Bradley UNITED STATES Micro Magic Charming Choi REPUBLIC OF KOREA Card Magic Chase Curtis UNITED STATES Micro Magic / Inventions David Stone FRANCE Micro Magic Etienne Pradier FRANCE Card Magic Felix GERMANY Card Magic Galambos HUNGARY Micro Magic Gianfranco Preverino ITALY Card Magic Gregory Wilson UNITED STATES Card Magic Guilhem JULIA FRANCE Parlour Magic Harry Lucas AUSTRIA Mental Magic Hayashi GERMANY Micro Magic Helder Guimaraes PORTUGAL Card Magic HOPERMAN JAPAN Micro Magic Iñaki Zabaletta SPAIN Card Magic Ivan Amodei UNITED STATES Micro Magic Joker Magic HUNGARY Inventions Jon Armstrong UNITED STATES Card Magic Juan Carlos Rodarte MEXICO Parlour Magic Kevin Gallagher UNITED KINGDOM Micro Magic Kif CHINA Card Magic Kiko SPAIN Card Magic Kristian Nivala FINLAND Card Magic Lodewijk de Widt NETHERLANDS Card Magic Marc Oberon UNITED KINGDOM Micro Magic Mario Bove ITALY Card Magic Martin Eisele GERMANY Micro Magic Martin Kaeppel GERMANY Mental Magic Mathieu Bich FRANCE Inventions Morgan Strebler UNITED STATES Mental Magic Mr. Dannyman SWEDEN Micro Magic Pierric SWITZERLAND Micro Magic / Inventions Radini NORWAY Inventions Rafael Tubino BRAZIL Card Magic Rey Ben ARGENTINA Inventions Rick Merrill UNITED STATES Micro Magic Rocco UNITED STATES Micro Magic Satoru JAPAN Micro Magic Seth-The Sleight of Hand Expert SWEDEN Card Magic Shawn Farquhar CANADA Micro Magic Simo Aalto FINLAND Micro Magic STONKEL GERMANY Card Magic Stuart Lightbody SOUTH AFRICA Micro Magic Timothy Trust & Julie GERMANY Mental Magic Tobias Heinemann SWITZERLAND Parlour Magic Tricky Niki AUSTRIA Card Magic Will Houstoun UNITED KINGDOM Micro Magic VIP magic NETHERLANDS Card Magic Woody Aragón SPAIN Card Magic

Ci-dessous la liste des artistes présents à la FISM extraite du site officiel de la FISM. Des conseils sur ceux qu'il ne faut pas rater? Tous? Vais pas beaucoup y penser dormir moi... Nordic Opening Show - Johnny Lonn, Sweden, A mix of technical skill and comedy, one of the best magic comedy acts in the world today! - Davido, Norway, Double FISM winner, 1982 and 1985, presents his winning dove act. - Kenny Quinn, Denmark, Pick pocketing and manipulation. You will get to see him perform the Viggo - Jahn Grand Prix act from 1949! - The Gallos, Sweden, The Gallos have entertained on cruise ships, casinos and in parks for over 30 years. Watch out for their Spirit Cabinet! - Finn Jon, NorwaySee his floating bubbles and dancing tie. A smooth and sophisticated act by a real pro. - Robert Jägerhorn, FinlandSee his prize winning act from FISM 2003 combining magic with mime and comedy. The Gala Show - the best of the best! - Helge Thun, GermanyYour MC - Jerome Murat, FranceThe man with two heads, impossible to describe. Incredible! - The Evasons, CanadaThe BEST mind reading act in the world. - Anthony Gatto, USA, Probably the best juggling act in the world today. - Marko Karvo, FinlandEurope’s best dove act. Six years at LIDO Paris says it all. - Vik & Fabrini, BrazilWith the robot man comedy act. - Jeff McBride, USAMagic - the secret act - Marc Metral, FranceWith the best ventriliquist act in the world! - Peter Marvey, SwitzerlandWith his famous original illusions that will amaze you. Close-Up show - Armando Luzero - Tim Conover - Lennart Green - Michael Vincent - Tim Star - Belinda Sinclair The Banquet show - John Houdi, Sweden – your MC - Kenji Minemura, JapanA spoon of magic - Gaetan Bloom, FranceA crazy man from Crazy Horse in Paris - Ardan James with Tina Lenert, USAMime, magic and comedy – you will love them! - Frank Wilson, HollandMagic, music and song The Finale Stage Contest The finalists + ... - Rich Bloch, USAYour MC - Norbert Ferré, France, Current Grand Prix winner in stage magic - Rafael, BelgiumSigfried & Roy Golden Lion Award Winner 2005-11-03 The Finale Close-Up Contest The finalists + ... - Max Maven, USAYour MC - Sos & Victoria Petrosyan, Armenia/Germany - Kevin James, USA Bar Magic and Late Night Shows - Cellini - Lennart Green - Juan Tamariz - Gazzo - Michael Vincent - Bill Malone - Stevie Starr Cheating and Gambling with Paul Wilson and Jason England Corporate presentations A unique panel discusion about corporate magic. - Paul Daniels - Tim Conover - Magic Christian - Bill Malone - John Houdi Juan Tamariz - One Man Show Zakary BELAMY - an artist in focus Talk-Show with Paul Potassy Lecturers - Armando Lucero, USATheory of magic - Gaetan Bloom, France - Parlour and stage magic - Cellini, SwitzerlandStreet magic - Jahn Gallo, SwedenStand-up magic - Jeff McBride, USAStage magic - Pavel, SwitzerlandRope and silk magic - Gazzo, USABar magic - Tim Star, SwedenClose-up magic - Banachek, USAMental Magic - Kevin James, USA

Je travaille énormément avec des cartes signées. Voici ma technique pour éviter de bousiller des paquets: 1) Je conserve mes anciens paquets et regroupe chaque carte séparément. Tous les VC ensemble, les AP ensemble,... 2) Avant ma performance, je place dans ma pochette de veste quelques unes de ces cartes. Disons trois cartes différentes en plusieurs exemplaires, histoire de ne devoir mémoriser que celles-là. 3) Je force l'une de ces 3 cartes au spectateur qui la signe. 4) A la prochaine table, je recharge. Avantage: j'utilise mes anciennes cartes sans toujours bousiller un nouveau paquet complet.

Ce qui me gêne personnellement sur la manière dont c'est fait actuellement, c'est que toute l'attention est portée sur la main qui cache la pièce (MD) et non sur la main qui est sensée recevoir la pièce (MG). La MD étant en effet celle qui bouge le plus, celle qui occupe le plus d'espace visuellement,...

Mais c'est qu'il est partout ce Jonathan. :grin: Il s'agit d'empalmer rapidement 4 pièces à l'empalmage classique. Donc pas très rapide de le faire une à une. Ta solution de clip (expliquée ailleurs) me semble meilleure. D'ailleurs de ce que je comprends c'est assez similaire à la solution de Phil-Day.

La solution de John Carney consiste à construire sa poche de manière à ce que les pièces restent bien groupées ensemble en un joli petit tas permettant de prendre les pièces rapidement à l'empalmage des doigts (finger palm). Mais à partir de là, comment les amener à l'empalmage classique? Directement de l'empalmage des doigts à l'empalmage classique?

Quelle est votre technique pour charger imperceptiblement plusieurs pièces à l'empalmage classique en plein vue du public? Quelques éléments de réponse ici La question n'est pas de savoir comment empalmer 4 pièces mais bien de savoir comment les amener à l'empalmage en cours de représentation sans faire de bruit, sans que le spectateur ne perçoive qqc, sans se retourner,...

Les faire sécher et les stocker dans une boîte métallique me semble une bonne option. Une autre est de ne pas en acheter si vous n'en utilisez quand même pas.

Genii sans conteste par rapport à Magic. Je n'ai comparé que sur un mois mais franchement après avoir vu la différence j'ai opté sans hésiter pour Genii auquel je me suis abonné. Question pub, Magic est toujours une horreur.

Allez jeter un oeuil sur le site de Lee et comparer les vidéos de Ghost King et Asher Twist. Franchement, il n'y a pas de doûte, Ghost King est effectivement une ERREUR ou plutôt devrait-on dire une HORREUR. Lee Asher tout comme Tim Ellis avec sa page Magic Fakers ( http://www.magicunlimited.com/magic_fakers.htm ) ont contribué à pousser Penguinn Magic à vider leur grenier de toutes leurs copies de tours originaux. Ils sont enfin en train de redevenir raisonnable à voir la pub dans Genii et Magic à grands coups de mea culpa. Excellent!

Un handling de David Acer dans "The Magic Menu Years Six through Ten" de Jim Sisti dont j'ai retrouvé la référence via magicbooks.be : page 423: The Card Warp Get Read (David Acer): a cleaner method to start Card Warp Une recherche rapide sur le site Magic Books m'amène au résultat suivant: Merci qui? Merci Jacky Kahan! Apocalypse Vol 3 No 7 July 1980 Page 361 Star Warp (Howard Schwarzman): good card warp routine with dollar --- Quarks and Quirks By Ben Harris Year???? published by??? --- The Linking Ring - Vol 72 No 10 Oct 1992 Page 87 Patter For McCallister´s Card Warp (Ken McCreedy) --- Apocalypse Vol 16 No 09 Sep 1993 Page 2262 Quicker Warp: Bob Kohler: a quickie version of Card Warp --- Apocalypse Vol 8 No 6 June 1985 Page 1069 Quick Warp (Jay Marshall): a Roy Walton Cardward variation using a card and a bill (shorter than Starwarp) --- David Acer, Natural Selections Volume II Copyright ©1999 Page 114 The Card Warp Get-Ready --- Tannen's Magic Manuscript Volume 9, Issue 5 March/April 1988 Business Card Warp - Card warp using business cards. --- Tannen’s Magic Manuscript Volume 8 Issue 1 July/August 1986 Card Warp Move by Torkova - a convincer for card warp ---- Ortiz, Darwin: Darwin Ortiz At the Card Table Published By Richard Kaufman and Alan Greenberg Copyright 1988 by Darwin Ortiz PAge 134 The Card Warp Deck --- Jim Swain, 21st Century Card Magic Copyright ©1999 Page 80 Card Warp Display --- Burger, Eugene: The Experience of Magic (AAR) Copyright 1989 by Richard Kaufman and Eugene Burger Page 91 The Inquisition. A fabulous and unique presentation of Card Warp --- Fraps, Thomas, et.al.: The Book or Don't Forget to Point! by The Flicking Fingers: Thomas Fraps, Helge Thun, and Jorg Willich Mismade-Warp (Rainer Pfeiffer): Card Warp/Greenwarp ending where the dollar changes into a mis-made bill --- Sisti, Jim (editor): The Magic Menu ©2001 Jim Sisti, Published by L&L Publishing Page 423 The Card Warp Get Read (David Acer): a cleaner method to start Card Warp --- Kaufman, Richard: The Collected Almanac © 1982-1992 by Richard Kaufman Page 113 Greenwarp (Bob McAllister): Card Warp with a dollar --- Harris, Paul: Art of Astonishment, Volume 3 Page 99 Improvised Screwed Deck (revised) (Close-Up Kinda Guy). A deck is twisted so that one end is face up and one is face down and then restored. Sort of a full deck Card Warp...