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Mr. Dan Kirsch, a professional magician from Sweden, wrote to me seeking advice on one's entrance onstage and how to increase applause for your show. I felt that these would be topics that many would like to see me touch upon in the Visions community. I have decided to tackle these topics in two different articles. This first one will focus on the performer's entrance. I shall relay advice from performers such as Jeff McBride and Joanie Spina. I will also include some of my own suggestions which are based on my personal experiences working onstage. I strongly feel that experience is the best teacher, and I encourage you to learn from the experiences in your own life. Should you happen to come up with a good piece of advice on this topic, please feel free to write to me, I would love to hear your ideas!

Shakespeare is quoted as saying, "All the world is a stage". This reminds us that we should perform magic at any good opportunity that presents itself regardless of whether there is a stage present or not. Not every venue has a defined stage, and a performer must be able to create his or her own performance area through his or her entrance and actions. Upon entering the performance area, many performers create a certain pre-performance mindset, a focussing on yourself and the show. Some do this just moments prior to the show, others do this hours before the show. This is why it is often recommended that a performer arrive at their performance venue early to become accustomed to their performance area and ensure everything is prepared for the show.

When I actually "take the stage", I like to think of that phrase as a positive affirmation that I am literally taking the stage for myself. Through my entrance, I take the stage and make it my own. I assume full control over the performance area. For that time that I am onstage, I control what occurs on my stage during my show! From the moment of your entrance, remember, you are in control!

In 2001, I attended a lecture by Jeff McBride which focussed on being a magician all the time, 24/7 - not just when we are onstage. During this lecture he spoke about the performer's entrance to their performing area. His advice was to think of the word "entrance" as meaning to en-trance the audience. Your entrance should en-trance the audience bringing their attention to yourself.

This is done by conveying a good, often original, image. The word "image", McBride suggested, think of as 'i-mage' as in 'I, the mage' or 'I, the magician'. Thus to create a good entrance, one should have a defining image or, another way of saying this is, to en-trance the audience one must remember that which makes them a unique magician and to project that through their appearance. For Jeff McBride, it is easy to recognize him as a magician, or at least an eccentric fellow simply by his choice of clothing.

Thus far, I have only provided you with some things to think about concerning your intention during your entrance onstage and your image. Now, having a solid, working knowledge of movement theater, I will share my suggestions on how a magician should enter their performance area and take the stage!

If you are not magically appearing onstage and have chosen to simply walk-on, my main suggestion is to simply be yourself, and utilize any previous knowledge you may have of magic, theater, dance, martial arts or any movement discipline to enhance your entrance. Jeff McBride mentioned that a magician's entrance to the stage should be designed to en-trance the audience whether you walk-on, magically appear, have the curtain rise, or perform an opening effect. McBride also suggests education in a movement discipline such as dance or martial arts to add a sense of style to your movements. You do not have to be familiar with proper theatrical etiquette. Just use common sense. In other words, do not walk onstage hunched over while tucking in your shirt...unless it fits your performance character.

A basic technique in creating a simple but effective opening, even generating a little suspense, is once the curtain opens or the emcee announces your name, wait a few seconds before actually walking onto the stage to appear in front of your audience. This often excites a little suspense in the audiences' minds. To them, this slight hesitation briefly interrupts the flow of the show making it seem as though you may not go on for some reason. Talk show hosts use this technique a lot. I believe Johnny Carson popularized this entrance technique, but the basic principle dates back to Vaudeville.

Depending on your performance character (if you have one) and considering that you have nothing palmed, or set-up to allow you to do this, - another basic entrance idea is to walk onstage with your arms slightly outstretched to your sides, elbows bent as though greeting the audience with open arms. A nice follow-up is to stop center stage or slightly closer to the audience (closeness indicates an intimate relationship between you and your audience), outstretch your right arm across your body to the left with your palm up and slowly sweep the arm over the audience to the right. A slight but humble nod of your head is a nice touch as it conveys that you appreciate their presence and applause if there is any. It also shows that although you appreciate your audience, you know that you have not proven yourself enough to take a full bow. I tend to feel that a performer who walks onstage to applause and takes a full bow is exhibiting poor manner. Again, it all depends on your personality and character. A lot of your movements onstage are based on your inherent body language. To learn more, I highly recommend reading books on body language and observing your own body language as well as others'.

If you are serious about learning how to enhance your stage performances and stage movements, I also recommend the videotape series "Getting Your Act Together" by Joanie Spina. Something mentioned within these videos is called "stancing" wherein the performer strikes poses to enhance the overall look of an effect. Personally, I use large, open stances as it extends the body to cover more of the stage area - thus making the performer appear larger! This is a very interesting concept; and if you are interested in learning more, Joanie Spina's videos are worth a look. Dance instructors also have a good foundation in the workings of stancing and would be able to assist you in learning the proper techniques.

I have debated with myself whether to include the following paragraphs on elemental walks, but for the sake of completeness regarding my knowledge on this topic, I felt it was my duty to include it. The following paragraphs may sound 'hokey' but I will ask you to bare with me and attempt to approach my advice with as much seriousness as you can muster.

As you may or may not know, in addition to being a magician, I am also a mime. As a mime, one learns about the various types of walks that people have, and we have assigned names to these walks according to the natural elements they appear to imitate and represent.

People may walk with an earth, wind, water, or fire walk. Sometimes a person's walk is a combination of elements, however more often than not, one element will appear dominant in their walk. For example, if a person walks flat-footed and heavy, perhaps with closed fists, we may say this person has an earth walk. A person whose movements appear jerky or erratic may be showing a fire walk. A smoother type of walk may either be wind or water. Yet a water walker tends to lead the movement of the body through the head, while the wind walker either remains centered or uses the limbs to enhance their walking.

It may sound difficult to recognize these different styles of walks, but if you simply go to a park one day and watch people, you will quickly learn how to assign these elemental walks to the people you observe. As a magician, one must always be aware of their posture and how they walk. I recommend keeping the body centered and focussing on your chest and, as you walk, lead with the chest - this will keep your posture correct and weight centered. This is an earth style walk that will make you appear centered and powerful. You do not have to arch your back and force your chest out at all, just walk naturally keeping a mind-focus on your chest.

There are several reasons for doing this. First, by leading with the chest and gesturing with the arms outward, one conveys a great sense of openness which definitely works in favor of magicians. Also, think of a cobra snake with its wide head-area. This shows that the snake is prepared and confident. The same idea applies to the magician. Find out what kind of walk you have, and adapt it to your character onstage. Your walk is an important part of your entrance.

Your entrance is an extension of yourself and your character. It is the first impression that you give to your audience. Naturally, you want them to see who you are first, followed by what you are capable of. Do you perform as a dramatic or comedic performer? This will indicate your style of entrance. Try to develop an entrance that is original. By first thinking about your intention and character, you will develop an entrance that fits your style and is, uniquely, your own.

Michael Matson