Close-up magic may be preferable for a beginner, although there are many aspects he needs to take care of in order to deal with the direct involvement of the spectators. However, whereas with close-up magic you need to pay attention to the physical nearness of your audience, with stage magic you have to find a way to deal with the attention of a rather large public set on you. Practically, in such circumstances, the magician has to face exposure of his actions coming from everywhere around here. A note here: the kind of magic tricks the performance of which we witness on television enters the category of stage magic. Therefore, what precise elements in the development of a magic performance could catch the eye and curiosity of such a large and diverse public?



First, a regular observation concerns the fact that audiences tend to develop an attraction to tricks made with some of the most common objects, objects that they encounter in their daily activities and to which they give no magic-related importance. For instance, it happens on a frequent basis that considerable numbers of spectators fall for a magic as simple as a coin trick is. People have to handle coins each day and, because of that, they tend to give more credit to a magician performing a coin trick. Their assumption is, in most of the cases, that magicians will not use coin gimmicks with such common objects. In addition, even if this does not apply exclusively to stage circumstances, magicians can make use of impromptus when deciding to perform a coin trick. Moreover, coin gimmicks are a rather regular piece of equipment accompanying a magician, even in impromptu conditions. The impromptu situation is, most of the times, just the impression of the spectator, whereas the magician has taken a long time and a lot of practice to manage so marvelously a coin trick.

However, beyond impromptu circumstances and coin gimmicks, stage magic frequently requires larger magic props, suitable for catching the attention of a large public. Of course, do not instantly assume that, since you are no longer dealing with close-up magic, you should no ask for the assistance of one (or more) of the members of the audience. On the contrary, in order to annihilate their suspicion, you need to draw one (or more) of them into your magic performance. Obviously, you also need to consider several points in the selection of your volunteers. Remember that in stage magic you have to remain in control of your performance as much as possible. Certainly, the introduction of someone exterior to the practice may interfere with your control. However, it does not have to be like that, insofar as you are careful about the spectator you choose.

For instance, during the magic performance, you can distribute items from your magic equipment to spectators. You will tell them that you need some help, without appearing to find it impossible to do the trick on your own. You will see that many people will volunteer. However, for the handling of smaller items, it is preferable that you choose from the public a woman. It is a spread fact that women tend to be less self-reliant during such public events. In addition, they will add grace and even efficiency to your stage magic. Moreover, you should choose women only for passive handling of one of your items. This means that they will simply hold an object you will hand them over from their seat, without having to make any specific moves. If you need someone to handle larger objects, then you should choose a man on whose face you can read the willingness to take part in the whole show. Indeed, it may happen that you select the wrong man, because many of them seem determined to unveil your secrets. However, you can counteract such potential attitudes by making that individual appear somehow hilarious, without making him feel too ridiculous. In the meantime, you can select another man, more suitable to offer you his help.

Pay attention to one detail. While you are selecting another person, do not make it obvious that the other one was bothering you. On the contrary, you must make it seem just another part of the program. In the end, all sorts of unforeseen situations can appear during stage magic performances. You need to stay alert permanently, without appearing too stresses about it, in any case. The secret of tricks performed in front of large audiences is in your manner of entertaining them, without turning it all into a circus show. Remember that you are not there to be a clown. You need to entertain them, but you need to do it in an enchanting, rather than ridiculous manner. This is why you are a magician.