| 104) |
Better practice results can be obtained by practicing before a video camera. |
_____ |
| 105) |
Practice should precede rehearsal. |
_____ |
| 106) |
The proper sequence for working up an act is: 1) Learn to perform each effect separately; 2) Routine the effects such that one effect segues smoothly into the next; and 3) Rehearse the whole act. |
_____ |
| 107) |
Modern audiences do not possess the attention span for overly long shows. |
_____ |
| 108) |
A twelve minute act is the ideal for a floor show. |
_____ |
| 109) |
A forty-five minute act is ideal for a parlor show. |
_____ |
| 110) |
A one-hour act is ideal for a stage show. |
_____ |
| 111) |
An exceptionally good act may hold an audience for an hour and a half or more with intermission. |
_____ |
| 112) |
When getting rid of an object in the pocket, it is well to come out of the pocket with an object to be incorporated in the next phase of the effect. |
_____ |
| 113) |
When secretly taking an object from the pocket or other concealment, it is well to come up with another visible object to be incorporated in the next phase of the effect, while palming the concealed object in the same hand. |
_____ |
| 114) |
Allowing time to pass before producing a concealed object obtained is an effective misdirection technique. |
_____ |
| 115) |
When producing larger objects, it is well to move away from the source of their attention, for example, a table or the back of a chair. |
_____ |
| 116) |
A wooden bead sewn into the corner of a silk facilitates rolling the sillk. |
_____ |
| 117) |
A hollow ball with a hole in it is a utility device for concealing & palming silks to be produced. |
_____ |