The Enchanted Hall

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"World's Most Remarkable Magical Theatre"

LAURESTON MANSION HOUSE, DOUGLAS, ISLE OF MAN.

Saturday 29th and Sunday 30th August

For the first time in their history of the Magicians of the Romantic Isle of Man are holding their own two day Convention, with a special invitation to all magicians of Celtic origin.

Many orhers will be welcomed, of course, but as the accommodation for the shows and receptions taking place in the Enchanted Hall

(Continued from Previous Page).

Meanwhile, you have palmed rhe pack of cards in the left hand and as you hold the glass in the right and the spectator covers it with the newspaper, you push the pack up into the glass, where if is held on the rim of the tumbler, the trap moving upwards to allow its entry and pushing the die and the ball up with it. See illustration.

The left hand is removed leaving the tumbler held by its upper rim in the right hand and in this condition it is placed upon the tabfe, a chair, or even the floor. A hole is made in the paper with the blade of a pocket knife and the magnet is lowered through the magnet contacts the top card of the pack and draws it up through the hole. The hand now takes control of the pack and the production is completed.

Removing the paper entirely from the g'ass, the ball and die are shown to be spinning around in the tumbler.

LEFT.—Dr. Harlan Tarbell discusses magical problems with H.E. Sir Alexander Cannon, presiding genius of the Enchanted Hall, and surely one of magic's 'most remarkable men'.

is limited, the number of visitors will be regulated in proportion. Those who wish to can, of course, take the Convention in their stride as they spend a week's holiday there. Invitations to perform there are extended to visiting magicians, and with the other attractions arranged this promises to be a grand experience.

Full details can be obtained from "MARITZA", 125, Ballabrooie Drive, Douglas, I.O.M. Taking into consideration the fact that visitors will be able to see the World Famous Collection of Fantastic Idols, Images, Stage Equipment and magical paraphanalia of His Excellency Dr. Sir Alexander Cannon, at the Laureston Mansion House, you should make up your mind quickly if you decide to go.

May 18th, 1953.

Max Andrews, London. Dear Sir,

This is to acknowledge the safe arrival of "Diminuendo" and Buckingham's book.

Your reputation for efficiency in packing fragile goods is certainly endorsed by the wri ter in the case of the above package. After a 12,000 mile journey, your parcel arrived in better condition (internally) than some we receive from our local stores.

S. W. MARTIN. South Australia.

3Àz Jjua dolmvL Suche* MapAin Jleôtmatian by EDDIE JOSEPH

When a performer deliberately exposes his secret manoeuvre in course of demonstration he not only earns the contempt of his fellow craftsmen but that of his spectators as well.

It can readily be understood that from the other magician's point of reckoning we are killing the goose that lays for us the golden egg when we let the laymen into our methods. The spectator's contempt is equally justified because when it is revealed that they were taken in by very elementary means they consider the whole thing derogatory to their intelligence.

But—when the performer permits the spectators to discover his secret as though by accident while the trick is being executed, he provides ample reason to satisfy their sense of ego. The situation thus created can then be advantageously appropriated to the benefit of the performer himself. By a pseudo explanation and repetition of the trick the onlooker is made to feel that his conjecture was correct after all. The succeeding repetition, however, upsets the previous theory and consequently the effect in question assumes a higher rating with the added advantage of the comedy situation that develops in consequence.

Now there is an old effect that can be placed in this category where the performer destroys a paper napkin and in the process of restoration the secret manifests itself due to apparent faulty handling. The performer then attempts to save face with a psuedo explanation and then proceeds to teach them how it is all done. After satisfying that the correct method had been divulged, a second repetition of the trick produces a totally different result.

I am now going to describe my adaptation of this idea. I have been using it for many, many years and my method differs in many ways from the original conception as handed to me three decades ago. To begin with I use two different coloured tissue paper. This, apart from giving the trick a fresh outlook makes it seem far more difficult to accomplish. The size of the paper is governed by the size of the individual's hands. Since the effect will not gain materially by an increased dimension of the paper it is best to confine the size within the limits of convenient handling.

You will require two pieces of Green and two Red squares cut from original sheets of tissue paper, I use quarter of a double sheet. If you decide to use the same size then of course the cut pieces will be more on the rectangular size. Take one of the green pieces and fold it flat twice . . . i.e. once each way. Place this at the outset in your left coat pocket. Take the other green and roll this into a loose ball. This is concealed in your right trouser pocket. The two red pieces are first treated in similar manner and both stored in the right coat pocket. You will also need a a brass curtain ring which is placed in the right trouser pocket. This is all the necessary preparation and you are set to introduce the effect at any desired point in your programme.

Presentation: Bring out the folded green sheet from the left pocket. Open it out flat, turn it around and handle paper in a manner so that the interior of both hands can be seen to be empty. Now slowly tear the sheet down the centre, put the two pieces together and then tear again. This will give you four pieces. This time the four are put together and the lot torn again. You now begin to roll the eight pieces into a loose ball. The left thumb and first finger takes the ball and displays it. At this point the right hand is turned with palm to the front and without stressing the intention, allow them a view of the interior. Having convinced them suggestively that you are only using one sheet of paper, you now reach into the trouser pocket and bring out the ring. Exhibit the ring and permit them to see that you have nothing else in the same hand. Touch the ball of torn pieces with the ring and then return it to the same pocket. On the way out, however, the duplicate ball of paper is brought out concealed behind the fingers i.e. in the finger palm position.

The right hand now approaches the left, ostensibly to take away the ball of torn pieces. The left, however, does not release its hold of the ball altogether. The tip of the first finger is allowed to remain in its original posi-

tion bur the thumb is slid down under the ball of the concealed duplicate whole sheet. Both hands now begin to move together under the mouth and you blow upon the ball. Now during the passage of the hands to the mouth the left thumb pushes up the ball of whole paper while that of the right rolls the original wad of torn pieces down into its own hand In other words the two balls of paper are exchanged with each other and what they believe to be the bail of torn pieces is really the whole duplicate which you will be blowing upon. Fig. 1 ¡1 lustra res the exposed view of both hands and the ball of torn pieces in relation with each other just before they move towards the mouth.

The ball of whole sheet which is now in view is slowly opened to disclose the apparent restoration of the mutilated paper. At this point, it is but natural for the applause to commence and after taking your bow you permit the hidden ball of torn pieces to drop to the floor. This apparent mishap will automatically interrupt the applauding and you assume the pretended appearance of embarrassment.

You now explain that if it had not been for that little accident they would never have suspected how you had seemingly restored the damaged paper but since they know part of the secret, you will let them in on the rest of the story. "Of course, by now you all know that I used two pieces of paper. After tearing one I exchanged it for the other" you say. At this poinr you roll the restored piece of green paper into a ball between both hands and hold it in the left palm. As you do this you explain that at the outset one piece must be rolled into a ball and concealed in rhe left hand so no one else would know about it. You then state that you will bring the second sheet of paper and show them how the trick is done. With the right hand you reach into the pocket on that side of the coat, get the rolled ball in the finger palm and openly bring out the folded paper. With the help of the left hand open the folded sheer of red paper and display on both sides. You explain that as one sheet has to be exchanged for another, you are deliberately using two different colours so that they will be able to follow your directions more readily and will be able to repeat the trick later for the amusement of their friends.

You now proceed to tear the red sheet into two, four and then eight pieces the same as you did before. Be it remembered that you have a rolled green paper wad in the palm of the left hand. Of this they are aware. You have a rolled red paper wad in the right finger palm of this they are not aware. Now roll the torn red pieces into a ball and then the left thumb gets into position shown in Fig. 1 under cover of the rolling action and takes the torn ball away TOGETHER with the concealed whole piece. Fig. 2 depicts the two red wads held between thumb and first finger of left believed to be but only one ball. In the palm of the same hand is also seen the whole green paper ball. The front of the two red balls is the one made up of the torn pieces

Your next move is to convince tacitly that you only have the torn red pieces and a whole green sheet. Gesture with the right and permit the interior of the hand ro be seen. Then move right cowards the red ball and take both away with the thumb underneath and forefinger on top. The mere action of turning the back of this hand towards the audience will bring the whole red ball on top and the torn pieces under it. This is shown in Fig. 3. The right displays the red ball and the left srill has the whole green wad. At this point you say that you will show them now how the torn red pieces are to be changed for the whole green. Return the visible ball of red to the left again gripping it between the thumb and first finger of that hand. The right now reaches inro the trouser pocket for the second time, leaves rhe torn red pieces

(Continued on Page 143).

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Fundamentals of Magick

Fundamentals of Magick

Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.

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