Children's magic is a specialized aspect of parlor magic and is meant to entertain children. It is performed at birthday parties, preschools, elementary schools, Sunday Schools or libraries, it is the only type of magic most Westerners experience other than that seen on television. This type of magic is comedic in nature. A distinction should be made between Children's magic and "young magicians." The former is meant for audiences made up of children while the latter refers to performers who are under-aged. The has organizations dedicated to them including Society of Young Magicians, Magic Youth International and Young Magicians' Club. Not every magician is interested in performing for children both artistically and in terms of patience; when Br. John Hamman, sm, was honored in 1995 during the first St. Louis Magical Heritage Awards, he explained in his acceptance speech the key to a successful magic performance: "The object of magic is misdirection. Audiences are more apt to believe what they hear than what they see, intelligent people are the easiest to fool because they don't expect me to use some childish gimmick to deceive them.
On the other hand, children are hard to fool, because they watch and don't listen." Since children do not have the social filters adults have in such situations, they have no compunction against pointing out every error or inconsistency a magician makes during his performance. This makes performing for children exceedingly difficult. Children's magicians use certain gambits while performing for children; some performers use their knowledge to intentionally misdirect the children in a given audience. One form of this type of misdirection is referred to as "Magician-in-Trouble" wherein a performer pretends to have made a mistake; the style used for children's magic is comical and uses props that are large and colorful. It is not uncommon for magicians to dress as clowns or in wild and outlandish costumes while performing. Children's magicians are reluctant to use tricks that focus on the use of playing cards, however magic with coins or paper money are popular with children. Movement and action are preferable to patter.
Buffoonery is a better vehicle than "mystery" for children. These performers use as many audience members as impromptu assistants as possible. Common Children's Magic Props include: Run Rabbit Run, Hip Hop Rabbits, Change Bag Routines, Breakaway Wand, Tipsy Turvy Bottles, Spongeballs. Older children tend to have a far greater logic and less traditional and more innovative magic effects can be performed
Bizarre magic is a branch of stage magic, like stage illusions, sleight of hand, or children's magic. The major difference is that bizarre magic uses storytelling and word play to a much greater degree, less emphasis is placed on the manual dexterity of the performer or the complexity of his equipment; the experience is intended to be more akin to small, intimate theater than a conventional magic show. Bizarre Magicians use authentic antique or simulated artifacts to enhance their presentations. Storytelling is employed for a greater sense of theatrical authenticity. Techniques such as these distinguish Bizarre from other types of magic performance. Max Maven has said of Bizarre Magic that it "references a larger magical world beyond the boundaries of the performance."Bizarre magic uses horror and supernatural imagery in addition to the standard commercial magic approaches of comedy and wonder. Bizarre magic deliberately utilizes discomfort for theatrical effect. Another methodology employed in performance is the integration of storytelling enhanced by magic.
Bizarre Magic is performed as close-up magic, for a few people at a time, but it can be performed as a club show or as a stage act, depending on the routine, the props, the performer. The movement of the art of Bizarre Magic began in the late 1960s with Charles Cameron and Tony "Doc" Shiels; some of the significant artists since that time have been Tony Andruzzi, Eugene Burger, Christian Chelman, Robert Neale, Jeff McBride. Most of the material on the subject is published within the Bizarre Magic community and is not available through normal distribution, and many of the important works were either hand-made or published on a limited basis. So despite being recent publications, many have significant collectible value. Contemporary British practitioners include Todd Landman, Iain Jay, Michael Murray, Nick Brunger, Stuart Burrell, Ashton Carter, Steve Drury and Dale Shrimpton. There are a few annual events focused on Bizarre Magic; the first event was the now defunct "Invocational" which started a tradition of annual gatherings in honor of the Bizarre.
In Edinburgh, Scotland the annual Charles Cameron Gathering is held in October. In October is the Magic and Meaning Conference in Las Vegas, Nevada. England's most popular convention for bizarre magicians is "Doomsday" - being held in Dracula's favourite seaside town, Whitby, it moves to a new location in 2019 after being held for the final time there in May 2018. Since 2015, The East Coast Spirit Sessions is held in January in Myrtle Beach,SC. In 2018, the first annual Mid-Atlantic Bizarre Hauntings Conference was held
In theatre and performing arts, the stage is a designated space for the performance of productions. The stage serves as a space for actors or performers and a focal point for the members of the audience; as an architectural feature, the stage may consist of a series of platforms. In some cases, these may be temporary or adjustable but in theaters and other buildings devoted to such productions, the stage is a permanent feature. There are several types of stages that vary as to the usage and the relation of the audience to them; the most common form found in the West is the proscenium stage. In this type, the audience is located on one side of the stage with the remaining sides hidden and used by the performers and technicians. Thrust stages may be similar to proscenium stages but with a platform or performance area that extends into the audience space so that the audience is located on three sides. In theatre in the round, the audience is located on all four sides of the stage; the fourth type of stage incorporates created and found stages which may be constructed for a performance or may involve a space, adapted as a stage.
Since the Italian Renaissance, the most common stage used in the West has been the proscenium stage which may be referred to as a picture frame stage. The primary feature is a large opening known as the proscenium arch through which the audience views the performance; the audience directly faces the stage—which is raised several feet above front row audience level—and views only one side of the scene. This one side is known as the invisible fourth wall of the scene; the proscenium arch evolved from the proskenium in Ancient Greek theaters. This was the space in front of the skênê or backdrop where the actors played; the first indoor theatres were created in French tennis courts and Italian Renaissance palaces where the newly embraced principles of perspective allowed designers to create stunning vistas with buildings and trees decreasing in size toward a "vanishing point" on the horizon. Stage floors were raked upward from front to back in order to contribute to the perspective illusion and to make actors more visible to audiences, who were seated on level floors.
Subsequently, audience seating was raked, balconies were added to give audiences a fuller view. By the end of the 19th century most stages had level floors, much of the audience looked down on, rather than up to, the stage; the competition among royals to produce elegant and elaborate entertainments fueled and financed the expansion of European court theatres. The proscenium—which was decorative in the manner of a triumphal arch—"framed" the prospective picture; the desire of court painters to show more than one of their perspective backgrounds led court architects to adapt the pin-rails and pulleys of sailing ships to the unrolling, to the lowering and raising, of canvas backdrops. A wood grid above the stage supported pulleys from which wooden battens, steel pipes, rolled down, or descended, with attached scenery pieces; the weight of heavy pieces was counterbalanced by sandbags. This system required the creation of a storage stage house or loft, as high or higher than the proscenium itself.
A "full-fly" stage could store the entire height of scenery above the visible stage using the pin-rails before or during performance, whereas a "half-fly" stage could only store props of limited size and thus required more careful backdrop and scenery design. Theatres using these rope systems, which are manually operated by stage hands, are known as hemp houses, they have been supplanted by counterweight fly systems. The proscenium, in conjunction with stage curtains called legs, conceals the sides of the stage, which are known as the wings; the wings may be used by theatre personnel during performances and as storage spaces for scenery and theatrical properties. Several rows of short curtains across the top of the stage, called teasers, hide the backdrops, which in turn are hidden above the stage in the fly system loft until ready for use. A stage may extend in front of the proscenium arch which offers additional playing area to the actors; this area is a referred to as the apron. Underneath and in front of the apron is sometimes an orchestra pit, used by musicians during musicals and operas.
The orchestra pit may sometimes be covered and used as an additional playing space in order to bring the actors closer to the audience. The stage is raised higher than the audience. Space above some proscenium stages may include a flyloft where curtains and battens supporting a variety of lighting instruments may hang; the numerous advantages of the proscenium stage have led to its popularity in the West. Many theatrical properties and scenery may be utilized. Backdrops and lighting can be used to greater effect without risk of rigging being visible to the audience. Entrances and exits can be made more graceful; the actors only have to concentrate on playing to the audience in one direction. Boxes are a feature of more modern stage designs in which temporary walls are built inside any proscenium stage, at a slight angle to the original walls, in order to allow audience members located to the left or right of the proscenium to see the entirety of the stage, they enable the creation of rat runs around the back of the stage, which are when cast members have to walk between entrances and exits without being seen by the audience.
This type of stage is located in the centre of the audience, with the audience facing it from all sides. T
Sleight of hand
Sleight of hand refers to fine motor skills when used by performing artists in different art forms to entertain or manipulate. It is associated with close-up magic, card magic, card flourishing and stealing; because of its heavy use and practice by magicians, sleight of hand is confused as a branch of magic, but is in reality a separate genre of entertainment, as many artists practice sleight of hand without the slightest interest in magic. Sleight of hand pioneers with worldwide acclaim include Dan and Dave, Ricky Jay, David Copperfield, Yann Frisch, Norbert Ferré, Dai Vernon and Tony Slydini; the word sleight, meaning "the use of dexterity or cunning so as to deceive", comes from the Old Norse. The phrase sleight of hand means "quick fingers" or "trickster fingers". Common synonyms of Latin and French include legerdemain respectively. Seneca the Younger, philosopher of the Silver Age of Latin literature, famously compared rhetorical techniques and illusionist techniques. Sleight of hand is used in close-up magic, where the sleights are performed with the audience close to the magician in physical contact or within 3 to 4 m.
This close contact eliminate the use of gimmicks. It makes use of everyday items as props, such as cards, rubber bands, paper and saltshakers. A well-performed sleight looks like an ordinary and innocent gesture, change in hand-position or body posture. In addition to manual dexterity, sleight of hand in close-up magic depends on the use of psychology, timing and natural choreography in accomplishing a magical effect. Sleight of hand during stage magic performances is not common, as most magic events and stunts are performed with objects visible to a much larger audience, but is done by many stage performers; the most common magic tricks performed with sleight of hand on stage are rope manipulations and card tricks, with the first being done with a member of the audience to rule out the possibility of stooges and the latter being done on a table while a camera is live-recording, allowing the rest of audience to see the performance on a big screen. Worldwide acclaimed stage magician David Copperfield includes illusions featuring sleight of hand in his stage shows.
Although being used for entertainment and comedy purposes, sleight of hand is notoriously used to cheat at casinos and gambling facilities throughout the world. Common ways to professionally cheat at card games using sleight of hand include palming, switching and stealing cards from the table; such techniques involve extreme misdirection and years of practice. For these reasons, the term sleight of hand carries negative associations of dishonesty and deceit at many gambling halls, many magicians known around the world are publicly banned from casinos, such as British mentalist and close-up magician Derren Brown, banned from every casino in Britain. Unlike card tricks done on the streets or on stage and card cheating, cardistry is about impressing without illusions, deceit and other elements used in card tricks and card cheating. Cardistry, or card flourishes, are always intended to be visually impressive and appear difficult to perform. Card flourishing is associated with card tricks, but many sleight of hand artists perform flourishing without considering themselves magicians or having any real interest in card tricks.
The art of card throwing consist of throwing standard playing cards with excessively high speed and accuracy, powerful enough to slice fruits like carrots and melons. Like flourishing, throwing cards are meant to be visibly impressive and does not include magic elements. Magician Ricky Jay popularized throwing cards within the sleight of hand industry with the release of his 1977 book entitled Cards as Weapons, met with large sales and critical acclaim; some magic tricks, both close-up and on stage, are connected to throwing cards. Cups and Balls Invisible Turnover Pass Tenkai palm Henry, Hay. Cyclopedia of Magic. Dover Publications. ISBN 978-0-486-21808-3. Hugard, Jean; the Royal Road to Card Magic. Courier Corporation. ISBN 978-0486156682. Jones, Jessica; the Art of Cheating: A Nasty Little Book for Tricky Little Schemers and Their Helpless Victims. Simon and Schuster. ISBN 978-1416571384. Jay, Joshua. Magic: The Complete Course. Workman Publishing. ISBN 978-0761159681. Longe, Robert. Clever Close-up Magic.
Sterling Publishing Company. ISBN 978-1402700279. Ostovich, Helen. Magical Transformations on the Early Modern English Stage. Ashgate Publishing. ISBN 978-1472432865. Scarne, John. Scarne's Magic Tricks. Courier Corporation. ISBN 978-0486427799. Tarr, William. Now You See It, Now You Don't! Lessons in Sleight of Hand. Vintage Books. ISBN 0-394-72202-7. Whaley, Barton. Cheating and Deception. Transaction Publishers. ISBN 978-1412819435. Jones, Finn-Olaf. "Houdini in the Desert". Forbes. Retrieved 26 February 2015. Singer, Mark. "Ricky Jay's Magical Secrets". The New Yorker. Retrieved 26 February 2015. "Sleight". Oxford Dictionary. 2015. Retrieved 26 February 2015. Wells, Dominic. "The Derren Brown Factor". The Times. Retrieved 26 February 2015. Sleight of hand on YouTube Sleight of hand on https://Cardtricks.info
A magic store is an establishment which sells materials for performing magic tricks. Magic shops also sell practical jokes and novelty items, serve as informal gathering places for amateur magicians, with some hosting organized magic clubs
Magic in India
Stage or street magic has a long history in India. Popular tricks include the rope trick, Indian basket, Indian cups and ball; the Latin term Magi was used to refer to Zorastrians during ancient times. The performance of magic and its practice is historical and ancient. There would be definite yet varied purposes for the practice of magic which evolved where entertainment, deception, cheating in games, fun may have been aimed. Sometimes, in religious context and purpose, it meant to offer social education along with some kind of preaching and healing too; the practice of Magic started to become evident around the beginning of the 18th century in India, the nation would present some distinct magicians in years. West Bengal, Karnataka, Delhi, Andhra Pradesh and some other parts of India have produced few great magicians so far. P. C. Sorcar is known as the father of modern Indian magic; some of his specialties included: Sawing a woman in half and the aerial suspension illusion. He was a prolific author of books on magic in Hindi and English languages.
In ancient times, Indian magicians were considered to be workers of legitimate mystical miracles, not entertainers. According to John Zubrzycki, writer of Empire of Enchantment: The Story of Indian Magic, the history of Indian magic goes back to the 3500 BC old Harappan Civilisation. There has been evidence showing that people bank used charms and talismans. There has been evidence of Indian fortune tellers dating back to Roman Empire; the Indian Magic was brought into the west in the 1813 by an English Captain of a ship who offered a group of jugglers in Madraes a great reward for their performance across the Black Sea. The general reputation of Mohammed Chhel, born in 1850 in Ningala, Gujarat is notable in the magic world. Popular regionally, he was considered a Mystic. Chhel did not venture into stage shows and commercial performances, his target audience remained peasants, simple - ordinary people, train passengers and such a class of society. With his performance/acts he intended to convey some message of life to people, he would strive to extend with his acts/magic for the benefit of deprived people.
There are several other popular magicians and their groups in Gujarat, such as K Lal, Pro. Chudasama, few others; the grandfather of Kerala's magic is Vazhakunnam Neelakandan Namboothiri. He played an important role in bringing magic as an art. Born in 1903, he learned magic after having watched some tricks shown in his Illam by one Mundaya Eachara Varier. Vaazhakunnam became famous for Kayyothukkam, although he performed "Cheppum Panthum" to small family gatherings. After 1940 he started real stage performances with his troupe. Apart from magic, the shows included comedy skits, etc.. There is some evidence. P. C. Sorcar K Lal P. C. Sorcar, Jr. jadugar anand.
A levitation illusion is one in which a magician appears to defy gravity by making an object or person float in the air. The subject may appear to levitate unassisted, or it may be performed with the aid of another object in which case it is termed a "suspension". Various methods are used to create such illusions; the levitation of a magician or assistant can be achieved by a concealed platform or hidden wires, or in smaller-scale illusions by standing on tiptoe in a way that conceals the foot, touching the ground. In Asrah levitation, an assistant lies down and is covered with a cloth; the assistant appears to levitate beneath the cloth, before floating down. As the magician pulls the cloth away, the assistant is seen to have vanished; the trick uses a structure of thin wire, placed over the assistant at the same time as the cloth. The wire structure can be raised; this illusion is credited to Servais Le Roy and was first performed with his wife as assistant in 1902. The performer stands at an angle facing away from the spectators.
The performer appears to levitate a few inches above the ground. The effect does not last for more than five seconds; the performer's feet return to the ground, the effect is complete. The trick is performed by standing on the front of one foot, while raising the one foot and the visible part of the other foot, blocking the view of the front of the supporting foot with the other foot and rear part of the supporting foot; this illusion was first described by Ed Balducci in 1974. Its inventor is unknown; the performer is viewed from the side. The performer's legs are covered for a moment at the beginning of the effect by a jacket; the performer's whole body is visible. The performer appears to levitate a few inches above the ground. Both feet are seen to be in the air; the levitation lasts just a few seconds. The trick is performed by removing the shoe furthest from the audience, turning that foot 90 degrees away from the audience, with the empty shoe clamped between both feet; when the performer stands on the tip of the hidden foot, the two shoes are raised together, the audience assumes that these are both of the performer's feet.
This illusion is known as the King Rising levitation. The chair suspension is an illusion where a person appears to float in midair, supported only by the back of a fold-up chair. American magician Harry Kellar performed a trick where his assistant, introduced as a Hindu princess, was brought onto the stage sleeping on a couch, he would levitate her, passing a hoop back and forth along her body to show that she was not being suspended. Kellar developed this trick by abruptly walking onto the stage during a levitation show by John Nevil Maskelyne, seeing what he needed to know, leaving; the Buffalo writer John Northern Hilliard wrote that the levitation was a marvel of the twentieth century and "the crowning achievement of Mr. Kellar's long and brilliant career."The trick was done by having the assistant rest on a flat board concealed inside her dress, connected to a metal bar going out the side into the backstage, hidden by the assistant's dress and the stage curtain. The other end of the bar was connected to a machine which could lower the woman.
To allow Kellar to "prove" with the hoop that she was floating, the bar was formed as a rough "S" shape, which would allow him move the hoop through the length of her body in either direction. Magician David Copperfield has performed an illusion in several magic shows since 1992 in which he appears to fly on stage for several minutes, while surrounded by audience members. During the trick, Copperfield flies acrobatically on the stage, performs a backflip in midair, has spinning hoops passed around him to prove that he is not suspended by wires. Copperfield descends into a glass box, covered with a lid, continues to float inside it; the method was created by John Gaughan, who described how the trick works in US Patent #5,354,238. The illusion utilises a series of wires controlled by a complex computer-controlled rig above the stage. In the glass box demonstration, the top of the box is threaded between the two sets of wires in a vertical position. Harry Blackstone, Sr. was famous for performing a "Floating Light Bulb" illusion, in which an illuminated lightbulb – made by Thomas Edison – was produced and illuminated in Blackstone's hands with no visible means of power.
The bulb would be extinguished and levitated into the air, where it would be illuminated again, before being floated out over the audience, still lit. Dutch magician Hans Klok became the custodian of the illusion after the death of Jr.. The Hummer card is a levitation trick in which a regular playing card floats, hovers and flies around the body of the magician in a impossible manner, it was devised by the innovative magician Bob Hummer. A trick in which a cigarette floats around the performer, moving from hand to hand before dropping down near the floor; as it moves up again it passes through a ring formed by the performer's fingers, as proof that there is no external support, ends up in the performer's mouth