Ps And Ba

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A white serviette to he used in place of a table cloth.

An ordinary pocket handkerchief.

In place of the five-eighth inch cork balls some performers use cork or parti-colored cloth balls 1 to li Inches in diameter. These, however, oannot be used, on account of their size, for the pretty passes where balls appear and disappear from between cups placed one over the other. This goes to show that:

The exact number and variety of the balls (or other objects employed) will of course vary according to the effects the performer may elect to produce.

A table with a servante (secret shelf) at rear will also be required for special display. This may be a special conjuring table, or a very excellent servante may be improvised by pinning up that portion of the table cloth that hangs at the rear into the form of a bag or gibeclere.

The bag or gibeclere of the old-time performers was tied around the v/aist like an apron or saleman's pocket, and was further provided on the inside with smaller pockets for keeping separate the objects it contained. Under cover of openly taking one ball from this bag, the performer might take two, palming the one for secret disposal as required; and other and similar subtleties could be readily made with the arrangement. This method would certainly make a novelty for the present day performer.

A special cup, which may be shown empty, but which, upon pressure being applied to a stud on the outside, will let fall a number of balls previously concealed behind a flap on the Inside which is of course painted black.

A special cup, the Inside of which is covered with needle points projecting downwards, for the purpose of causing the disappearance of several cork balls over which the cup may be placed.

Arrangement of Properties --- The passes may be performed on any cloth-covered table, or on any snail polished top table by first spreading the serviette over the same, otherwise a ball secretly passed under a cap would talk on the table top and so reveal its presence: it would also roll too freely.

The three ordinary cups are then arranged in line on the cloth in front of the performer, who will, of course, be standing behind the table; for convenient reference we will designate the cups so placed, reading from left to right, as

"A"--------"B"- _"c"-~-—-—

The wand should be laid on the table in readiness, to the left of "A".

The four small cork balls are concealed at the outset, two in the right hand pochette (a small cloth pocket sewn on the trouser leg, on a level with the knuckles and hidden by the coat.), and two in the right hand trouser pocket. This is my own arrangement for a special pass, introduced for the purpose of secretly bringing into play the third and fourth balls as required. If the li inch balls be employed they may be placed in the same manner.

The four large cloth balls (or other objects) may be concealed in the profonde (large pocket sewn on the Inside of the coat) on the left hand side - one or more may be vested (concealed under the wistcoat) or otherwise disposed that they may secretly be gotten into the left hand as required.

The table with servante at rear will only be necessary when a continued production be made from the cups of large and bulky objects; the necessity for this, or otherwise, will be made clear in the explanations.

The two trick cups (one to produce and one to vanish balls) when employed, will be arranged on the table, one to the extreme left and the other to the extreme right, so as to be out of the way of the ordinary manipulations.

Personal Address - Misdirection —- In addition to the properties, their advantageous disposal and skill in their manipulation, considerable address is necessary on the part of the performer to divert attention away from certain movements of his hands; this is of even more Importance with the Cups and Balls than in conjuring generally. a running accompaniment of talk should be indulged in, each Pass having its own boniment or "patter" carefully rehearsed. A good opening address is also essential, and this should be arranged to produce as much merriment as possible, thus putting the spectators on good terms with the performer - making them feel at home so to speak, a performer with an animated face will invariably succeed in attracting all attention in that direction and will thus be able to do anything at all with Ills hands, practically without the movements being observed.

You may have noticed that when a person addresses you In a serious, spirited or argumentative manner, you are compelled, more or less unconsciously, to look him straight in the face -your eyes become fixed, gazing right into his own, so much so that you forget for the moment he has such things as hands. You relax the gaze occasionally so as not to appear rude, but, in the case of a conjuror, he has held your attention long enough to have placed the object In position. This is the art of misdirection -elocution, gesture, in a word, dramatic deportment - and which the beginner must study just as much as he does the ordinary manipulations, that is, If he would meet with any particular success. Specimens of opening speech and "patter" will be given in due course.

(To be continued)

Page 241

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The left hand Is actually giving the hill an extra fold and pushing It Into the slit In the cushion of the open ring box after which the box Is closed. When all of the wool has been unwound from the tumbler, the attention of the audience Is called to the box which is left In the glass.

The hand is taken from pocket to point to the box, the duplicate box containing the bill being finger palmed (third and fourth) In that hand. At this point you are practically facing the audience direct, and you tell spectator to put the wool aside. During this you step to a position so you have him on your right, and the audience to your left. Then you ask him If he will open the box himself. 3aying this, the tumbler is tilted forward so that the box falls out. It la oaught In the left hand by the forefinger and thumb and Immediately the hand makes a tossing motion towards the spectator and the palmed box is released and the empty one is immediately drawn down into the finger palm po-siticfti.

Ifre gentleman, of course, catches the one tossed towards him, opens It, and finds Inside his bill which he duly identifies. This latter move, namely the switching of the boxes, may sound rather difficult but it is an extremely easy move, and it only requires doing naturally to make It deceptive. I found that the best way to. practise it was to stand a few feet from an armchair and toss the box Into that. Don't throw It, just toss It gently and naturally.

As the gentleman is opening the box, I generally take the tumbler In left hand and place it out of the way, at the same time disposing of the box. In a drawing room I take out my handkerchief, leaving box behind. In conclusion I might say that JI have performed this effect on the stage, the concert platform, in the club, the drawing room, and In a garden. I have performed it before several gatherings of magicians and only once have I had a solution offered, and that was that I used a confederate.

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