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By Derren Brown

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Additional resources for Absolute Magic

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Not from the public, who would in most cases pretend to be fooled out of sheer pity. Not from other magicians, who will be generally unlikely to be able to offer a layman’s reaction. For an art that relies entirely on the experiences of the spectators, it is remarkably difficult to find out what those experiences are We cannot finish an effect and then immediately have the audience dissect their experience of it to provide us with useful information. Yet that is exactly what we need. The only answer is to seek criticism humbly and greedily.

I would like it to connect with life and, take root, but as magic, not as a tract. The main bulk of drama, however, is concerned with struggle and conflict resolution. Some magic does wander into this area, but rarely commits at any real level. The declaration of will begins the drama, the message and learning ends it, but this is where tension and empathy are most generated. In magic this need not be grand, but it stands a far greater chance of being interesting. The traditional Ambitious card eflect, where the card is placed repeatedly in the centre and jumps to the top at the will of the performer, has not reached that conflict stage.

The vision is, as I have mentioned, a deftly- wrought mixture of character, material and dramatic finesse to provide a deeply affecting show. I aim to achieve that, and am sometimes happy with the results. In our model, it is still important that the magic connect with the outside world and have meaning in the lives of the spectator. I would like it to connect with life and, take root, but as magic, not as a tract. The main bulk of drama, however, is concerned with struggle and conflict resolution.

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