IN PROGRESS - “INVISIBLE TANGO” (PART 2)

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Now that the idea and metaphor are defined, I script it. I do this still without thinking about how I will achieve the illusion in its internal and secret mechanics. By only focusing on how that idea is better communicated with the desired magic metaphor, I can write freely and without conditioning. This until later becomes the goal and, in a certain sense, the top of the pyramid that we want to reach.

In order to better express the idea, I first start to consider if it should be delivered before the magic metaphor, during the execution of the climax of the magic effect, or after the conclusion of it. This helps create a skeleton with the type of information and order of that information, and it helps me select which approach is more powerful, which has a better impact, and, especially, which one best fits the idea. 

Once this simple but thoughtful decision is taken into account, it becomes easier for the words to flow on the paper and build each one of the layers of the moment we want to create. I only think about it from a performance standpoint. A few of the ideas that I always contemplate are the fact that all the information delivered is new or intentionally repeated (for maximum impact) and the order in which every new piece of information is given. In fact, I underline every piece of information that, when delivered, is new for the audience (this will help me later). 

Although this text will probably undergo changes when I arrive at the final result, the closer I get it to what I would believe is the best possible version of it, the better it will shape the construction of the routine and, at the same time, the rest of the show. This key moment will be the one that triggers a lot of other smaller but nonetheless important moments, the base of the pyramid that builds it up.

Once that composition is written down, it becomes clear what will be the essential elements that will belong to that performance moment. With those in mind, I can start playing and finding ways to create that illusion. The creative process stops being a single road and now can happen in parallel with many elements involved. But it's not only about secrets and how to create illusions.  

As this experimentation phase starts, I start to think about the implications of what was written down, and that will function as my goal from now on.

Helder Guimaraes