The Composition of the Impossibility

There are different ways in which we can measure the impact that a performance has on an audience. Whether it be theater, music, comedy, or magic, the overall effect is visible and can’t be denied. Specifically about magic, sometimes I would like to understand the impact the impossibility has on the overall experience of an audience. How do you measure it? How do you understand if the impossibility is a key element for the audience or just one more item? And, are they good judges of what makes something more or less impossible?

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Helder Guimaraes
IN PROGRESS - “INVISIBLE TANGO” (PART 6)

In this part of the process, I start editing out all the ideas and boil them down to the essence of the show. For this, and depending on the complexity of the performance, I like to bring in other creative elements that will help define and make coherent decisions along the way. The Director, Lighting Designer, Set Designer, Composer – all of them are welcome to give some input about the general ideas and also about the possibility of executing them. Having the team together also allows the group energy to build, and the questions and answers that everyone exchanges provide the right background for everyone’s individual contributions later on the project.

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Helder Guimaraes
IN PROGRESS - “INVISIBLE TANGO” (PART 5)

Out of the list created, I start to create a skeleton of what the show will be. A simple structure that allows me to link each moment to the next one. One of the oldest magic rules is that you should always start with your second strongest effect and then follow with the remaining repertoire in increasing order of the impact that it has on the audience. I feel this is a dated concept. If we only looked at all the pieces as purely individual entities that neither in form nor in content related to each other, then this could be a simple way of getting a structure. But Magic deserves more than that.

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Helder Guimaraes