[ Pobierz całość w formacie PDF ]
.The answer must depend upon the kind of audience with which he has to deal.To anaudience of conjurers he would naturally present the superior method.The other wouldonly bore his spectators.But to the general public, apart from some special reason tothe contrary, he should present the more familiar yet more effective method, less perfectthough it may be.To the public, either method would be quite inexplicable; and,therefore, there would be every justification for choosing that which appeals to thepublic more highly.Indeed, one might almost say that, in the circumstances, the use ofthe superior method would hardly be justified, for the simple reason that it would fail toproduce its due effect.In the practice of an art, one must always keep in view the fact that, in the absence of aneffective appeal to the imagination, art is, to all intents and purposes, non-existent.It istrue that a poet, a painter or a sculptor may produce a work of art which contemporaryopinion may condemn, and future ages may approve beyond measure.But suppose that,disheartened by present failure, the artist were to destroy the work he had produced, theresult would be precisely as though that work had never been attempted.It came into amomentary existence, it made no appeal to the minds of those who saw it, and itdisappeared completely.The work, however meritorious it may have been, was but wasted effort.It did notserve the cause of art in the remotest degree.It was but ephemeral in its existence, andfailed to evoke contemporary approval.In short, it was useless.Precisely analogous is the case of a magician who presents work which his audiencescannot appreciate.Apart from its presentation, the art of magic has no sensibleexistence.It is naturally ephemeral, and demands instant appreciation.Primarily, the true function of any art is not the promotion of its own advancement, butthe promotion of enjoyment and the elevation of the intelligence of mankind.Inperforming such functions, its own advancement is automatically achieved.That beingso, it must be useless to exhibit any ephemeral achievement in art which, to those whosee it, is not effective.Such presentations have no artistic value.They can neither serveto raise the level of human intelligence, nor to promote human enjoyment.We have previously referred to the necessity for maintaining as high a level of merit aspossible.But at the same time, we have pointed out there is every reason for bearing inmind the natural limitations of certain audiences.By all means let people see goodwork-the best they are capable of appreciating-on every possible occasion.But workwhich is too good for them is, practically, as valueless as that which is not goodenough.Within the capacity of a magician's audience, the higher he rises the greaterwill be the appreciation accorded to his work.Beyond that prescribed limit, however,the higher he rises the less will be the value of his achievement.http://thelearnedpig.com.pa/magos/books/ourmagic/008.htm (4 of 5) [4/23/2002 3:25:20 PM] JustificationIt has been said very justly that every virtue is, as it were, a middle course between twoopposite vices.Thus, courage is midway between cowardice and rashness; thrift ismidway between acquisitiveness and improvidence; morality is midway betweenprudery and licentiousness; and so forth.In like manner, justification stands half-waybetween the faults of pedantry, on the one hand, and the failures of ignorance, on theother.The rule should be:(10) Cut your coat according to your cloth, but spare no pains in the cutting, or yourprocedure cannot be justified.The foregoing considerations enable us to discuss, upon a more definite basis, thequestion of dual effect, already mentioned in connection with the subject of unity.Wecan now readily understand that, in certain circumstances, two simultaneousdevelopments may be presented in such a manner as to justify the departure from theprinciples of unity.We can see that justification may be proved on various grounds ofexpediency.For example, one of two magical feats may add a climax to the entirepresentation, and thus aid the general impression produced in the minds of spectators.Or, on the other hand, the development of one effect may involve certain periods oftime which, to the public, would appear vacant, were they not filled in with theprocesses connected with the second effect.In any case, however, the dual presentationmust not involve serious division of interest, or the total result will be neither artisticnor effective.We shall have to return to this subject later on; and, therefore, we neednot consider it further at present.We may conclude our remarks upon justification by summarizing the rationalconclusions to be deduced from the facts stated.There is no need for recapitulating allthe minor points we have reviewed.It is only necessary to emphasize the main featuresof our inquiry, as follows:In order to know what may or may not be justified, it is essential to acquire anunderstanding of the purposes of art, and the manner in which those purposes can bestbe fulfilled.Hence the importance of systematic inquiry and the need for accuratereasoning.Every instance wherein justification has to be claimed represents a specialproblem, requiring to be dealt with in accordance with the facts of the case.The truesolution cannot be arrived at by the aid of mere opinion.The only reliable source ofevidence is knowledge.That which serves the purposes of art in the best manneravailable, is justified.That which does not so serve the purposes of art, is incapable ofjustification.We argue that, in everything he does, a magician should be able to demonstrate thegrounds upon which he claims that the procedure is either artistically correct orabsolutely justified.To an artist, "good enough" is never good enough.His work mustbe correct; or, failing that, as nearly correct as circumstances permit.Previous | Next | Contentshttp://thelearnedpig.com.pa/magos/books/ourmagic/008.htm (5 of 5) [4/23/2002 3:25:20 PM] Surprise and RepetitionOur MagicThe Art in Magic -- The Theory of Magicby Nevil MaskelynePrevious | Next | ContentsCHAPTER VISURPRISE AND REPETITIONWE NOW proceed to deal with two diametrically opposite methods of producingeffect, each method being the converse and complement of the other.Upon reflectionit will become evident that, as a rule, the effect produced by a magical presentationdepends upon the proper employment of one or other of the two principles now to beconsidered [ Pobierz całość w formacie PDF ]
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.The answer must depend upon the kind of audience with which he has to deal.To anaudience of conjurers he would naturally present the superior method.The other wouldonly bore his spectators.But to the general public, apart from some special reason tothe contrary, he should present the more familiar yet more effective method, less perfectthough it may be.To the public, either method would be quite inexplicable; and,therefore, there would be every justification for choosing that which appeals to thepublic more highly.Indeed, one might almost say that, in the circumstances, the use ofthe superior method would hardly be justified, for the simple reason that it would fail toproduce its due effect.In the practice of an art, one must always keep in view the fact that, in the absence of aneffective appeal to the imagination, art is, to all intents and purposes, non-existent.It istrue that a poet, a painter or a sculptor may produce a work of art which contemporaryopinion may condemn, and future ages may approve beyond measure.But suppose that,disheartened by present failure, the artist were to destroy the work he had produced, theresult would be precisely as though that work had never been attempted.It came into amomentary existence, it made no appeal to the minds of those who saw it, and itdisappeared completely.The work, however meritorious it may have been, was but wasted effort.It did notserve the cause of art in the remotest degree.It was but ephemeral in its existence, andfailed to evoke contemporary approval.In short, it was useless.Precisely analogous is the case of a magician who presents work which his audiencescannot appreciate.Apart from its presentation, the art of magic has no sensibleexistence.It is naturally ephemeral, and demands instant appreciation.Primarily, the true function of any art is not the promotion of its own advancement, butthe promotion of enjoyment and the elevation of the intelligence of mankind.Inperforming such functions, its own advancement is automatically achieved.That beingso, it must be useless to exhibit any ephemeral achievement in art which, to those whosee it, is not effective.Such presentations have no artistic value.They can neither serveto raise the level of human intelligence, nor to promote human enjoyment.We have previously referred to the necessity for maintaining as high a level of merit aspossible.But at the same time, we have pointed out there is every reason for bearing inmind the natural limitations of certain audiences.By all means let people see goodwork-the best they are capable of appreciating-on every possible occasion.But workwhich is too good for them is, practically, as valueless as that which is not goodenough.Within the capacity of a magician's audience, the higher he rises the greaterwill be the appreciation accorded to his work.Beyond that prescribed limit, however,the higher he rises the less will be the value of his achievement.http://thelearnedpig.com.pa/magos/books/ourmagic/008.htm (4 of 5) [4/23/2002 3:25:20 PM] JustificationIt has been said very justly that every virtue is, as it were, a middle course between twoopposite vices.Thus, courage is midway between cowardice and rashness; thrift ismidway between acquisitiveness and improvidence; morality is midway betweenprudery and licentiousness; and so forth.In like manner, justification stands half-waybetween the faults of pedantry, on the one hand, and the failures of ignorance, on theother.The rule should be:(10) Cut your coat according to your cloth, but spare no pains in the cutting, or yourprocedure cannot be justified.The foregoing considerations enable us to discuss, upon a more definite basis, thequestion of dual effect, already mentioned in connection with the subject of unity.Wecan now readily understand that, in certain circumstances, two simultaneousdevelopments may be presented in such a manner as to justify the departure from theprinciples of unity.We can see that justification may be proved on various grounds ofexpediency.For example, one of two magical feats may add a climax to the entirepresentation, and thus aid the general impression produced in the minds of spectators.Or, on the other hand, the development of one effect may involve certain periods oftime which, to the public, would appear vacant, were they not filled in with theprocesses connected with the second effect.In any case, however, the dual presentationmust not involve serious division of interest, or the total result will be neither artisticnor effective.We shall have to return to this subject later on; and, therefore, we neednot consider it further at present.We may conclude our remarks upon justification by summarizing the rationalconclusions to be deduced from the facts stated.There is no need for recapitulating allthe minor points we have reviewed.It is only necessary to emphasize the main featuresof our inquiry, as follows:In order to know what may or may not be justified, it is essential to acquire anunderstanding of the purposes of art, and the manner in which those purposes can bestbe fulfilled.Hence the importance of systematic inquiry and the need for accuratereasoning.Every instance wherein justification has to be claimed represents a specialproblem, requiring to be dealt with in accordance with the facts of the case.The truesolution cannot be arrived at by the aid of mere opinion.The only reliable source ofevidence is knowledge.That which serves the purposes of art in the best manneravailable, is justified.That which does not so serve the purposes of art, is incapable ofjustification.We argue that, in everything he does, a magician should be able to demonstrate thegrounds upon which he claims that the procedure is either artistically correct orabsolutely justified.To an artist, "good enough" is never good enough.His work mustbe correct; or, failing that, as nearly correct as circumstances permit.Previous | Next | Contentshttp://thelearnedpig.com.pa/magos/books/ourmagic/008.htm (5 of 5) [4/23/2002 3:25:20 PM] Surprise and RepetitionOur MagicThe Art in Magic -- The Theory of Magicby Nevil MaskelynePrevious | Next | ContentsCHAPTER VISURPRISE AND REPETITIONWE NOW proceed to deal with two diametrically opposite methods of producingeffect, each method being the converse and complement of the other.Upon reflectionit will become evident that, as a rule, the effect produced by a magical presentationdepends upon the proper employment of one or other of the two principles now to beconsidered [ Pobierz całość w formacie PDF ]