DAORTIZ LIBERTAD DE EXPRESION PDF

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Posted: Feb 3, am. Last night I had the pleasure of attending a lecture given by Dani DaOrtiz. It's entirely changed my view of how to do it. I can't wait to try it out. He forced a card on me several times in demonstration and the effect was eerie--I felt very clearly that I was being forced, but I also felt absolutely compelled to take the force card, almost as if by hypnosis.

At least for Dani, and I see no reason why not for others after a while. I'd be very curious to hear feedback here from anyone who is familiar with Dani's work on this. Another excellent part of the lecture was his work on getting a spectator to name a particular card. Calling all mentalists! If you love equivoque as I do, you need to track down his work on this. Incidentally, he said that his book in English by Kaufman and himself should be out this year; and he is also working on a book with Tamariz about Hofzinser that should also be out soon!

Can you describe what he did differently with the classic force? You clearly felt the card was being forced, but you said he did it to you several times. All that really matters is how you felt the first time. Did you feel it was a force then? Swayne, I can't say his method on a public board as it's not mine to share, but I believe he's discussed it in his Utopia DVD series. It's a little hard to give a naive view of the "first time" feeling because I always assume a magician is forcing a card.

But I certainly feel that a layperson would feel it was a completely free choice--especially given that the magician's head is turned aside. So for magicians, I'm not sure if they would be completely unaware that something happened, but I strongly doubt a layperson would.

What Dani does is not "instead of," it's "in addition to," the usual CF technique, which makes it even more surefire. Dani's work on the classic force is just beautiful and you can find it in detail in his utopia dvd series, as a magician you probabbly felt he was forcing it on you but his attitude and body language are so dissarming that on the back of your mind you have to take that card, it's really difficult to fight him because of that, I don't remember ever seeing him miss a classic force on a spectator.

Dani is a master of manipulating the spectator to his own needs and does it effortlessly. Posted: Feb 3, pm. Thanks for posting on your blog. Ive been in magic only a year and a half, so still a noob. Dani's abilities are amazing and every time I watch I'm impressed with his seeming "I don't care" laissez fair attitude. I appreciate your comment on the magicians for magicians aspect. As a student graduating within the fine arts, it was always assumed the end goal is displaying your work for the public.

Perhaps a certain segment of the public, but not necessarily for artists only. Best to you, GreenKnight. Just out of curiosity, since I've never been to a lecture. Can anyone who pays the fee attend? How do they separate the wheat from the chaff lookie-loos? Thanks GreenKnight. Dani's attitude it not to seem like he doesn't care, he truly doesn't care, that's what makes it so disarming, things can go wrong in his show, but you wouldn't notice because of the way he handles mistakes, he thrives under pressure, just like Tamariz he says that if nothing goes wrong during a performance then it's bad because there was nothing to learn.

Posted: Feb 4, pm. For those who read in spanish, his book "Libertad de Expresion" is my favorite book on forces. He explains not only the classic force, but a "look at a card force", and several other subtleties. I've been in some of his lectures, and although I knew I would be forced into a card in any given moment, I was never sure if it was a force or a free choice. I think the most important thing I've learned on his lectures: Every person is a world.

You are a person communicating with another person. You are both creating magic, because magic can only exist with both of you acting together. In order to create good magic, you have to "create" your audience, to communicate what is the role of the audience. Everything you do, how you do it, what you say and how you say it, where you look, etc. That, for me, makes sense.

That's why Slydini effects seem to only work for him. That's why the work of Harry Loraine is unique. That's why Lennart Green does magic the way he does. This could be a very long list Posted: Feb 5, am.

It's great stuff BUT it's very, very idiosyncratic. In other words, what works for Dani won't necessarily work for you. It's like the Slydini reference, above. Most of Dani's stuff is what dealers would call "self-working", in that it doesn't usually require knuckle-busting sleights. But self-working it most definitely isn't. In fact it's bloody hard, and almost impossible to practice without an audience. It's all in your style, your presentation, your manner and it's hard to replicate without doing an impression of Dani cf.

Slydini, again His "classic force" is an example. When Dani does it, it's invisible. When I do it, it looks exactly like I'm giving the spectator the card I want him to have which is pretty much it! Triple Intuition is easier to pull off, but still hard. He's a wonderful performer and thinker, but don't imagine his stuff is simple to perform! Twitter: rosswelford www. He can do great sleights with cards. But mostly he performs his sleights on his audience's focus, rhythms, awareness and expectations.

I find this exciting and brilliant. Posted: Feb 5, pm. GreenKnight33 Regular user Posts. Thanks GreenKnight When a magic shop like Tannen's has a lecture, they are happy to take anyone's money. Ricardo Delgado Loyal user Posts.

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Dani Daortiz - Libertad de Expresion

Daniel Ortiz was born in Malaga in a town called Estepona. His magic journey started at 4 years of age thanks to a box of tricks given to him by his father. When he was 12, he visited the magic circle in Seville and experienced the magic of Mario the Magician who would later become his mentor. All played their part in influencing his approach to magic. Pay Cart Topic.

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