Circle of Attention

As I was rereading “An Actor Prepares,” by Constatin Stanislavski I was struck by what he wrote about the actor’s need to maintain focus within a limited circle of attention.

Stanislavski’s actors were challenged to use the circle of attention to create the illusion of “solitude in public” (an oxymoron coined by Stanislavski to describe the actor’s ability to be “alone” on stage while on the other side if the footlights thousands of spectators watch).

The small circle of attention (3 foot radius) is the easiest circle in which the young actor can maintain focus, the medium circle of attention (10 foot radius) is more difficult, and the large circle of attention (30 foot radius) is the hardest.

As variety arts performers, we are not required to maintain the illusion of a “fourth wall,” separating us from our audience. We openly acknowledge, speak to, and perform for, our audience. But we can use this idea of circle of attention to help our performances too.

I’ve met many magicians who have perfected their focus and concentration to such a degree that they can be oblivious to anything that is happening outside their small circle of attention. While this can be a blessing for an actor on stage (for whom the audience — apparently — does not exist), this small circle of attention can be limiting to the variety arts performer.

This is not to say that there is no place for “solitude in public” in a magic performance; it can be used as a very effective device. But I’ve seen too many magicians who cannot expand beyond the small circle.

The small circle of attention is often sufficient for the close up magician who has his or her spectators in close proximity. But there are other performing situations where this will not do.

Busking for example (also known as street magic before David Blaine co-opted and redefined the term). Or trade show work.

The most common mistake I’ve seen close-up magicians make when trying their hand at busking or trade shows, is that they bring with them their small circle of attention (with which they’ve grown quite comfortable, and which — until now — has served them so well). But despite the fact that they perform the same magic as more successful buskers or trade show workers, they fail to draw a large audience.

Unfortunately, it’s not the size of the trick that determines the size of your audience. Great buskers can perform the tiniest of effects, but because they maintain a large circle of attention, they can hold an audience of 300 people spellbound.

And even in the performance of close-up magic where the small circle of attention might work, it is not the ideal. For variety arts performers, “solitude in public” must be the exception, not the norm.

So how does one grow their circle of attention?

• Master your magic, so that it doesn’t draw your attention inward. Contemplating secret maneuvers casts you back down into the small circle of attention.
• Open your posture so you can connect with the audience. If you’re hunched over, gazing at your hands (in the quintessential Dai Vernon pose), you’re minimizing your circle of attention.
• Be aware of what is going on around you. Turn your attention outward to see how much you can embrace. Let nothing escape your attention.
• Use your eyes, your voice, your hands, your body, and your feet to fill the space with your presence. Connect with as many people as you can.

I’ve seen many great magicians perform live (Bob Sheets, Doc Eason, Bob Read, Gazzo, Johnny Fox) and they all know how to maintain the big circle of attention. The time you spend learning to expand your circle of attention will be time well invested and should be a part of the curriculum for every magician.