Purse Of Aladdin

Slydini uses the metallic frame of a simple coin purse (without the pouch) as a delightful "touch" for many standard routines. Any object that can pass through the opened frame (coins, cigarettes, forks, etc.) may be used for both productions and vanishes. Slydini presents many amusingly incidental bits of business with the use of this piece of apparatus.

No sleights are used, yet an unlimited number of humorously magical appearances and vanishes can be accomplished. It is the ultimate "opener" and attention-getter for close-up magic with small objects. When you consider the almost limitless number of small, common objects used in the performance of intimate magic, it encompasses a wide field.

Many original ideas will occur to you when you understand the underlying principle. Since the entré for this conceit is always the same, you will not have to devote hours of practice for performing. Extremely subtle and very provocative, it encompasses one principle applicable to a great number of effects. Because of its simplicity and the fact that no concentration on your part is involved, it will allow you to present these peregrinations leisurely and abstractedly as though they were a most natural occurence.

Slydini, as usual, starts with visibly empty hands and they remain so right up to the actual production.

The object or objects to be produced are already in your lap. Remove the frame from your pocket. Before starting, Slydini states, "I will show you a beautiful thing."

Ask: "Do you know what this is? . . . Do you see a bag? . . . Only the front? . . . You don't see any bag?" As you patter, turn the

frame this way and that, which gives you an opportunity to let everyone see your hands are empty (Foto 1).

When you are answered, lean back, bringing your arms almost against your chest, your hands directly above your lap and clear of table (Foto 2). Both hands hold frame.

Sit straight up. Bring your right hand up toward your right ear (Foto 3) and shake the frame as you ask: "Do you hear anything?" Keep your left hand stationary. Lean across the table and say to a spectator: "Listen!" while shaking the frame close to his ear.

The coordination here is important: When you say, "listen," your body leans forward following your arm towards spectator. At the same time, your left hand falls naturally into your lap (and onto lapped object), as in foto 4.

Whether spectator answers or not, lean back saying: "Never mind . . . there must be something here . . ." and transfer purse to left hand, holding it between base of thumb and tips of middle and fore-fingers (Foto 5).

This position effectively conceals the load you have picked up from your lap and which is held by the ring and little fingers of your left hand just below the frame.

Open the frame, reach into it and produce your load.

For purposes of illustration, let's purse of aladdin • 80

say your load consists of sponge balls. Produce two sponge balls, one at a time, and put them on the table. Close the frame and start to put it into a right pocket. As your hand moves to your pocket, your body follows it and your eyes look towards right and down. At the same time, your left hand falls back into your lap and picks up another sponge (Foto 6).

Immediately, change your mind. Exclaming, "Now wait a minute . . . I must have another one . . ." bring frame back up again with both hands (as in foto 5), reach in, produce a third sponge and put it on the table. Close the frame and put it on the table to your right.

Line up the three sponges on the table before you and allow your hands to rest naturally at table's edge.

Ask, "How many sponges do we have here?" As soon as you are answered, pretend you've made a mistake. Immediately, pick up the frame and put it into your left hand as in foto 5 but, this time, rest the bottom edge of your left hand at edge of table. Pick up one of the sponges with your right hand saying: "All I need is two . . ." and put it into the open frame. The sponge will drop into your lap, its fall covered by your left hand resting at table edge.

As soon as the sponge drops, close the frame and put it back on the table well towards your right.

You can now proceed with the standard sponge ball routine or whichever you prefer.

When you want to produce an object, take the frame from the table or your pocket and proceed as described for fotos 1 through 5. If you w§nt to vanish an object, take the frame, open it and put the object into it as described above.

As a gag, when you vanish an object and after saying, "I don't need this," close the frame, and start to put it in your pocket (as described for foto 6). Then, change your mind abruptly saying "Oh, I do need it!" and produce it again (bringing purse up with both hands as described for foto 5).

Note: Purse frame should be of such a size as to fit comfortably between the base of your thumb and the top phalanx of your curled fingers while still allowing you to keep your fingers close together.

LONG AND SHORT OF IT

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