Final Observations

This routine, which was first developed at my writing desk, has gained new dimension's, from many performances on stage, as well as many lectures, some of which were in the U.S.A., including the Magic Castle. I never leave it out of any of my programs.

That is how I discovered that it is better for the performer to leave the lady from the audience alone on the stage at the denouement and to take her place in the audience.

The choice of the volunteer from the audience is critical. Lifeless and clumsy, inhibited women can bring the effect down to almost nothing. Perform "The Interrupted Dream" on those occasions when you have a chance to test your medium. Perform a little experiment with her, or at least have a conversation with her. Also voice and speech mannerisms will affect her suitability. A weak or squeaky voice or a very strong regional accent will weaken the effect.

The person may be calm, brash, and even boorish. At the latest, by the time she discovers that the notes she has written have vanished, she should lose her disinterested tone, or even better, become angiy. (If she begins to try to tear the note pad apart, take it away from her and immediately continue with the watches.)

Important: As soon as you sit down in the audience, tell the medium, "Please open the box and dump all of the contents onto the table." and the lady cannot know which side of the note pad was which.

If she is too spirited, and she takes the items out one at a time, let her have her way, and play out the story in the order that she takes the items out of the chest. The only exception is the coin. If it is taken out too early, have her place the little bag into a box. Then have her place the box into her purse, or any other place that conditions will permit, for safekeeping until the end of the routine. Here is the reason: Practical experience has shown that the bent coin is the effect that remains in the spectators minds the longest and is the one they speak of the most.

I have taken the Zöllner knots completely out of the program. The effect took too long to perform and weakened the overall effect of the "Dream."26

If you have a "Funken Ring" or other type of hand flasher, here is a tip that will give you an effective way to introduce it into the routine:

When all of the objects have been replaced into the chest and it has been closed, there will be the familiar expectant pause. You stand perplexed, waiting on the stage and finally say, "Nothing has happened. Or has it? Perhaps time is having an invisible effect - or is the Psi factor at work?"

Now move the chest and let out a flash. "Something must have happened. There must be some kind of unexplained force present that has just discharged." Continue with the thoughts about the 'beginning without an end," as in the routine.

Then only very brash mediums will even dare to )pen the chest without being very careful.

I have also used the individual tricks in other •outines. This is the case in "The Bermuda Triangle," ilthough its motivation is different. There is no reason 10t to do so. The tricks which we know and have mas-:ered are our construction materials. From them we

26 The Zollner knots consisted of the appearance and disappearance of a Knot from a piece of unprepared rope. The knot was loosened and passed up the rope to the knot that neld the ends of the rope together. It was in the original version of the routine and is not included in this one. You won't miss Itl BP

can build a sales pitch, a sketch, a joke, or even a "work of art-ifice."27 The same is true of the writer, who possesses the same equipment as each of his colleagues, namely the language. He can create either a trashy novel or an elevated work.

As you lead your words, so will they follow. Tricks are no different. . ..

One critic wrote, concerning my first performance in the Mozarteum in Salzburg: "Here I felt the spirit of a true composer. He did not do the name of the theater any harm."28

"The Interrupted Dream" is the work of my late period. It is the sum total of my experiences. I have yet another half dozen new ideas and I hope that Fate will allow me to leave them to the world of magic. However, [ probably will not be able to leave behind a better experiment than this one.

Protect the secret and perform it only for an audience that has come to you to be amazed.

punx

27 In this text Kunst-Stück - literally art-piece - also the German word for a magic trick. Punx has written this won! hyphenated in the original text. He did not want anyone to miss the connection that can exist between Art and Magic. He is fond of this particular piece of word play which only exists in English if it is translated as in the text. If you have his Magical Adventures and Fairy Tales, you will remember that I pointed this out in the bonus section of the book. BP

28 This is a high compliment coming from an Austrian theater critic, especially just after WW II. Punx was the first magician to ever work at this theater, which had previously been a showplace for the works of Mozart. The very idea of having a magician appear at this place was outrageous. This was not his last appearance at the Mozarteum. They loved Punx's workl BP

Friendly Persuasion

Friendly Persuasion

To do this successfully you need to build a clear path of action by using tools if necessary. These tools would be facts, evidence and stories which you know they can relate to. Plus you always want to have their best interests at heart, in other words, you know what is good for them

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