The Shadow Of Life

On the stage sets an oddly shaped frame. Assistants enter and open the door to show the unit empty. The door is shut and slowly a shadow is seen to form on the door. The shadow begins to take shape and it is seen to be the image of a man. Suddenly, the front door fiys open and it's the magician! _

The framework is made to the dimension* on the next page. You will notice that the magician is hidden in the left panel The area b4 his head needs to have a 8 III clearance In our drawing the door is omitted but the dotted lines indicate its placement over the black inner trim The door is a 2» frame with either butcher paper or milk

Magic Illusion Door

In performance the unit sits on stage with the magician hidden inside. Assistants come out, open the door, walk through the prop and position a photographer's light on a tripod behind the illusion. When the door is shut, the light shows through the front door. Once the door is shut, the magician moves behind the light and begins to make shadows with his hands. Finally, stepping in front of the light and walking forward. This action creates the image of a shadow form coming to life. He then opens the door and makes his appearance.

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ILLUSION "PLANNING

wrote Illusion Planning in the early eighties based on the lessons the parks taught me about how the typical audience responds to a twenty minute illusion show, fhe illusion shows we provided theme parks were not acts like Marv and Carol foil's Mr. Electric, but more along the lines of a scaled down illusion show as once presented by the great masters like Thurston. i?ante and i^laekstone. Natural y. the budget dictates the scope of the show, but the actual "meat* of the show was the illusions and how theq were placed within the show An obvious example being that you wouldn't want the magician to magicallq appear at the end of the show. With that thought in mind we paid careful attention to the How of the show and what illusions teemed to fall m the proper slots to gain maximum audience attention Another benefit from this book for manq were the silhouettes I illustrated at the beginning of each chapter heading, I had manu calls requesting permission to use the images on business cards, letterheads, etc. Of course. I would Hope that qou not cooy the book and sell it. but I have no problem with magicians using those illustrations for their own promotion

Althouah dlusions have progressed in style, method and complexity as this book is being written, the same values and pacing can be seen in todaq s Illusion 'W performance* In some cases uou have to tru the new illusion in different positum* within qour show, but hopefullq this ittle book, long out of print, will form the basis of how qou structure qour illusion show

ILLUSION PLANNING

Introduction 58

Dedication 59

1st Thoughts AO

Flow :42

Know Thyself A6

Birthing 48

Conditions 50

Rehearsal

Crating 57

Livestock 60

Finally 65

COPYKtCIIT UNDER UNIVERSAL CÛVYRKjMT CONVENTION ©

COPYRIGHT, J'AUL OSRORNE, FAULOSUORNE'S ILLUSION SYSTtMS. DALLAS, TEXAS. PRINTED U.S.A.

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Some illusions should be "flown" in the air to be effective, although the "Drum" illusion works well on it*s base.

Anotner great classic illusion performed by our Cypress Gardens magician, Doug Anderson, Consider this prop as a çreat opener to introduce your assistant or, as Doug did it, your assistants.

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