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Tf your appearance is O.K. and your first trick well selected why not get away from the stereotyped introductory speech in vogue for a score of years or more? "Ladies and gentlemen, x will endeavor to entertain you with some experiments in the art of legerdemain, better known as sleight-of-hand or magic," with variations of the same doesn't mean a thing, ¿surely your ingenuity will prompt a neat way of making an introduction. There are many thousands of words and phrases from which to choose.

Vary your methods and switch your systems. I mean by this, don't present an effect in which you employ the same modus operandi used in the previous trick. This shows very poor Judgement and great lack of showmanship.

Ten minutes daily practice before a mirror will work more wonders with your wonders than the criticisms of ten magicians.

Try to rementoer never to borrow anything from the audience unless such be necessary to the working of a trick. For instance if you require a lead pencil see to it that you have one. Don't annoy those whom you should be entertaining.

Don't drop into the habit of making fresh remarks. While such may seem funny to you, or to some of the others, the one to whom they are addressed feels embarrassed. As an example it is bad form to say to a prospective selector of cards. "Can you tell the oards apart?"

Work out your own combinations and remember it doesn't in the least matter who originated the Rising Cards, but rather Who does it the BEST.

The art of magic does not end with the ability to perioral a oertain effect well, nor in rattling off a line of patter. Give attention to every angle of the presentation, and don't forget there is such a thing as dramatic import, atmosphere, grace, style, continuity and proper routining.

One of the main differences between a prof-fesslonal and an amateur Is, the professional knows the VALUE OP TIMEI This doesn't mean that you should rush through your tricks, but that you should not waste time in longwinded explanations between them, and in getting ready for the next effect.

A little more attention should be paid to the angle of vision. Those who sit in the balconies and boxes paid to be mystified, too.

It has always seemed poor showmanship to me for a magician to rapidly present a number of unrelated effects, either as an initial flourish or otherwise. Primarily it seems like showing off rather than entertaining. When done on the first entrance it tends to make it harder to put over subsequent single effects. It is furthermore difficult if not impossible for the audience to follow, and confusing and ment

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ally annoying instead of pertinently alluring.

k trick or two with an ordinary handkerchief, a coin, a piece of paper, or any common object that one finds in a house, will often do more to establish the fact that you are clever than some special piece of apparatus or trick that you carry with you.

If you would rather use a real egg chan some of the terrible imitations I have seen, try blowing the contents and enlarging the hole in the broad end of the egg. After, fill the eggshell with a not too stiff solution of plaster of paris and allow it to harden. Such an egg, if handled with reasonable caie, will last a long while.

Do not make the unprofessional error of talking about what other magicians do or do not do, nor how much better you do a certain trick than the others. Just do it - the best that you can; the audience will be the judge anyway. Your saying so does not make it so -only your DOING.

Keep well in mind that if you please the ladies half the battle is won. datch your appearance, speech and manners. Don't say or do anything that would not be said or done in good society. It will get you much fancier.

liusic helps to build "atmosphere". "Just a waltz" or "a chord on and off" is not sufficient; that is, if you want to get the best possible results. There are so many gems that could be employed and are not. "The Song of India", "Oriental", and many others. Select your own - something that fits your presentation; something that you like; something that makes YOU feel in the spirit of the thing -and this will subconsciously be transmitted, to an extent, to those you are trying to impress*

It is AMfAYS best to buy the best. The best is not too good. This is true of black silk thread, elastic, cards, or anything else. You can't get distance on a four dollar radio -nor can you go any distance in magic if your paraphernalia is of the cheap and poorly constructed variety.

Don't go to sleep on your advertising campaign. All of the really big magicians spend and have spent thousands on advertsing , and had some of the finest paper obtainable despite the expense. Good stationery is very important and aa influence on the committee. And don't make it gaudy! I know of one private entertainer who spends more for one order of stationery than it would cost to replace his aot. And I know of another who has quite a few hundreds of dollars tied up in his aot, but his advertising is mostly blotters and a rubber stamp.

Don't build up combinations that become so involved that it is only with an effort the members of the audience oan follow or cannot follow at all. Some pretty combinations are possible, but the more direct they are presented the better.

Winlpt} A. Souierman



$2 if on* Jfaimlliliiiii 2545

JSilitant Harris

M—ttt ^tlgitilR

Mount Yrmnn, OIimi

Mount Yrmnn, OIimi

1720 Mmnimmx Am.

Ptatut, X.

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