the visible invisible\nwriting is washed from mirror and appears again on it, breathing glass, anecdote of a a magician who performed the routine and got caught by the audience, on originality\n unknown
1784
breslaw's last legacy
Unknown
The Visible Invisible
writing is washed from mirror and appears again on it, breathing glass, anecdote of a a magician who performed the routine and got caught by the audience, on originality
concluding observations\n- hints as to working up tricks
- arrangement of programme
- stage arrangements
- parting counsels\nprofessor hoffmann
1876
modern magic Professor Hoffmann
wie devant einen ring vertauscht\nlong intro about apparatus vs. sleight-of-hand, ring switch in which ring is put on second finger and duplicate is already on bent-in first finger, fingers switched while walking on stage\ncarl willmann\ndavid devant
1897
die zauberwelt Carl Willmann, David Devant
Wie Devant einen Ring vertauscht
long intro about apparatus vs. sleight-of-hand, ring switch in which ring is put on second finger and duplicate is already on bent-in first finger, fingers switched while walking on stage
schule der magie - einleitung\n"school of magic - introduction"
on psychology of magic, active and passive deception, positive and negative deception\nfriedrich w. conradi-horster\nschule der magie\nfriedrich w. conradi-horster\nschule der magie\nfriedrich w. conradi-horster\nschule der magie\nfriedrich w. conradi-horster\nschule der magie\nfriedrich w. conradi-horster
1898
der zauberspiegel Friedrich W. Conradi-Horster
Schule der Magie - Einleitung
"School of Magic - Introduction"
on psychology of magic, active and passive deception, positive and negative deception
schule der magie\nfifth part\nfriedrich w. conradi-horster\nschule der magie - einleitung\nfriedrich w. conradi-horster
1898
der zauberspiegel Friedrich W. Conradi-Horster
schule der magie\nsecond part of introduction, on palming, misdirection\nfriedrich w. conradi-horster\nschule der magie - einleitung\nfriedrich w. conradi-horster
1898
der zauberspiegel Friedrich W. Conradi-Horster
Schule der Magie
second part of introduction, on palming, misdirection
schule der magie\nthird part, on holding the hand correctly when a larger object is apparently in it\nfriedrich w. conradi-horster\nschule der magie - einleitung\nfriedrich w. conradi-horster
1898
der zauberspiegel Friedrich W. Conradi-Horster
Schule der Magie
third part, on holding the hand correctly when a larger object is apparently in it
schule der magie\nfourth part, more on the false transfer\nfriedrich w. conradi-horster\nschule der magie - einleitung\nfriedrich w. conradi-horster
1898
der zauberspiegel Friedrich W. Conradi-Horster
eine neue volte mit einer hand\n"die kartenschule von carl willmann"
part three of description, on delaying the pass, comparing practicing with piano playing\nc. vogel\ncarl willmann\neine neue volte mit einer hand\nc. vogel
1899
die zauberwelt C. Vogel, Carl Willmann
Eine neue Volte mit einer Hand
"Die Kartenschule von Carl Willmann"
part three of description, on delaying the pass, comparing practicing with piano playing
a waste paper basket\nadvice on using an ornamental waste paper basket on stage for throwing away paper so as to remove suspicion, instead of throwing the paper off-stage\nlu brent
1932
novel magic Lu Brent
A Waste Paper Basket
Advice on using an ornamental waste paper basket on stage for throwing away paper so as to remove suspicion, instead of throwing the paper off-stage
suggested programs no. one - a club act of magic\ncombining some tricks of the jinx into a program\ntheodore annemann
1936
the jinx 1-50 Theodore Annemann
suggested programs no. two - a mental club act\ncombining some tricks of the jinx into a program\ntheodore annemann
1936
the jinx 1-50 Theodore Annemann
easy moves with one thimble\ndescribes four short sequences with one thimble, with some advice on how to execute thimble sleights and magic\njean hugard
1936
thimble magic Jean Hugard
Easy Moves With One Thimble
describes four short sequences with one thimble, with some advice on how to execute thimble sleights and magic
for artists only\ntalks about culling, patter, misdirection, plot, selection of cards, building a programme, and building routines\nvictor farelli
1936
"lend me your pack" Victor Farelli
For Artists Only
Talks about culling, patter, misdirection, plot, selection of cards, building a programme, and building routines
"culling"\ntalks about how culling should be done, mentions louis nikola and how he stacks his deck during the course of another routine, also mentions erdnase's stock securing and cull shuffling\nvictor farelli\nordinary methods of stocking, locating and securing\ns. w. erdnase\nthe erdnase system of cull shuffling\ns. w. erdnase
1936
"lend me your pack" Victor Farelli
"Culling"
Talks about how culling should be done, mentions Louis Nikola and how he stacks his deck during the course of another routine, also mentions Erdnase's stock securing and cull shuffling
lady volunteer assistants\nshort essay on how women in the audience should be treated, and why they should probably never be chosen to come on stage, or even pick a card\nvictor farelli
1936
"lend me your pack" Victor Farelli
Lady Volunteer Assistants
Short essay on how women in the audience should be treated, and why they should probably never be chosen to come on stage, or even pick a card
suggested programs no. three - a magical club routine\ncombining some tricks out of the jinx into a program\ntheodore annemann
1937
the jinx 1-50 Theodore Annemann
Suggested Programs No. Three - A Magical Club Routine
combining some tricks out of the Jinx into a program
suggested routines no. four - a no card mystery act\ncombining some tricks of the jinx into a program\ntheodore annemann
1937
the jinx 1-50 Theodore Annemann
Suggested Routines No. Four - A No Card Mystery Act
suggested routines no. five - "no code" telepathy\ncombining some tricks of the jinx into a program\ntheodore annemann
1937
the jinx 1-50 Theodore Annemann
suggested routine no. 6 - "strictly impromptu"\ncombining some card tricks of the jinx into a program\norville wayne meyer
1938
the jinx 1-50 Orville Wayne Meyer
Suggested Routine No. 6 - "Strictly Impromptu"
combining some card tricks of the Jinx into a program
introduction - extempore magic\nessay on impromptu magic, special props and magic that happens as a side note, with examples by tarbell\njean hugard
1939
the magic annual for 1938 and 1939 Jean Hugard
Introduction - Extempore Magic
essay on impromptu magic, special props and magic that happens as a side note, with examples by Tarbell
secret and open outs\ndifference between rectifying mistakes secretly (before audience knows about it) and openly (when the mistake is known to everyone)\ncharles hopkins
1940
"outs" precautions and challenges Charles Hopkins
Secret And Open Outs
Difference between rectifying mistakes secretly (before audience knows about it) and openly (when the mistake is known to everyone)
when error is still under cover\ntechniques to get out of mistakes before audience catches on\ncharles hopkins
1940
"outs" precautions and challenges Charles Hopkins
When Error Is Still Under Cover
Techniques to get out of mistakes before audience catches on
when error may be visible\ntechniques to get out of mistakes when audience knows\ncharles hopkins
1940
"outs" precautions and challenges Charles Hopkins
When Error May Be Visible
Techniques to get out of mistakes when audience knows
this time you must be right\nimportance of rectifying the mistake clearly to end successfully\ncharles hopkins
1940
"outs" precautions and challenges Charles Hopkins
This Time You MUST Be Right
Importance of rectifying the mistake clearly to end successfully
attitudes that get co-operation\nafter finding wrong card, how to get selector to reveal the correct card for magician to try again\ncharles hopkins
1940
"outs" precautions and challenges Charles Hopkins
Attitudes That Get Co-operation
After finding wrong card, how to get selector to reveal the correct card for magician to try again
8 - use a thumb writer.\nhow to use thumb writer to get out of sticky situations\ncharles hopkins
1940
"outs" precautions and challenges Charles Hopkins
8 - Use a thumb writer.
How to use thumb writer to get out of sticky situations
old ideas brought up to date; also, a few new ones\nuseful sleights to use for outs\ncharles hopkins
1940
"outs" precautions and challenges Charles Hopkins
Old Ideas Brought Up To Date; Also, A Few New Ones
when information-getting becomes ticklish\nhow to gain information not by pretending to confess to failure, but by proper methods in performance\ncharles hopkins
1940
"outs" precautions and challenges Charles Hopkins
When Information-Getting Becomes Ticklish
How to gain information not by pretending to confess to failure, but by proper methods in performance
s.a.m. benefit show\nshow review with performers: fred keating, the hanlons, jay palmer & co, the great le roy, al baker, dai vernon, dagmar & co, the five elgins, roner, prince leon and gus wayne, roy benson\n cagliostro, jr.\n
1941
the jinx 101-151 Cagliostro, Jr. (reviewer)
S.A.M. Benefit Show
Show Review with performers: Fred Keating, The Hanlons, Jay Palmer & Co, The Great Le Roy, Al Baker, Dai Vernon, Dagmar & Co, The Five Elgins, Roner, Prince Leon and Gus Wayne, Roy Benson
suggested program no. 7 - "a varied magic act"\ncombining some tricks of the jinx into a program\ntheodore annemann
1941
the jinx 101-151 Theodore Annemann
the old timers of the y.m.h.a. present master magicians in "a night of magic"\nshow review\n rhadamanthus, jr.\n
1941
the jinx 101-151 Rhadamanthus, Jr. (reviewer)
The Old Timers of the Y.M.H.A. present Master Magicians in "A Night of Magic"
the health magician\nprogram aimed at children on the subject of being healthy, how to dress, tricks and patter ideas\ncharles j. maly
1942
ireland's yearbooks Charles J. Maly
The Health Magician
program aimed at children on the subject of being healthy, how to dress, tricks and patter ideas
the back room\non stuart robson, al chris describing a miracle from india, dell o'dell, russ swann, selling and promotion\nbruce elliott
1943
the phoenix 1-50 Bruce Elliott
The Back Room
on Stuart Robson, Al Chris describing a miracle from India, Dell O'Dell, Russ Swann, selling and promotion
bare stage bugbear\nhow to move on a stage, fishing rod to get objects from the audience\njean hugard
1944
hugard's magic monthly — volumes i, ii, iii and iv Jean Hugard
Bare Stage Bugbear
how to move on a stage, fishing rod to get objects from the audience
the principles of magic\n- commented list of methods/principles (manipulation, substitution, duplication, camouflage, imitation, false partition, concealed mechanism, falsification, arrangement, preparation)
- list of effects
- list of aiding factors (misdirection, sustained attention, diverted attention, restriction, repetition, conclusion, climax, anti-climax, mannerism, surprise, expectancy, memory, mnemonics, reconstructive imagination, dramatics, humor)\narthur h. buckley
1948
principles and deceptions Arthur H. Buckley
The Principles of Magic
commented list of methods/principles (Manipulation, Substitution, Duplication, Camouflage, Imitation, False Partition, Concealed Mechanism, Falsification, Arrangement, Preparation)
introduction\non close-up magic, his book of mysteries, beautiful props appealing to women\ndr. stanley jaks\nlektion in magie\ndr. stanley jaks
1951
who is this dr. jaks? Dr. Stanley Jaks
Introduction
on close-up magic, his book of mysteries, beautiful props appealing to women
an interview with fogel\non mentalism\ntony corinda\nmaurice fogel\nerrata and additions to the full "thirteen steps to mentalism"\ntony corinda
1959
book tests Tony Corinda, Maurice Fogel
answering questions from platform\nprivate reader vs. stage reader, how to answer questions with a public, funny answers\ntony corinda
1959
question and answer (readings) Tony Corinda
Answering Questions From Platform
private reader vs. stage reader, how to answer questions with a public, funny answers
club show (1936)\nlist of effects, "the show i give is almost the same as that given by malini"\ncharlie miller
1961
the magic of charles earle miller Charlie Miller
Club Show (1936)
list of effects, "The show I give is almost the same as that given by Malini"
lektion in magie\non close-up magic, his book of mysteries, beautiful props appealing to women\ndr. stanley jaks\nintroduction\ndr. stanley jaks
1961
dr. stanley-jaks und seine geheimnisse Dr. Stanley Jaks
Lektion in Magie
on close-up magic, his book of mysteries, beautiful props appealing to women
the presentation of close-up magic\n- approaching people
- different group sizes
- examination of objects
- containers to store props
- working surface
- music ("ganson's personal orchestra")
- close-up effects
- length of performance
- practice
- economy of movement
- borrowing objects\nlewis ganson
1967
the art of close-up magic — volume 1 Lewis Ganson
professional presentation\nincluding koran's comments on presentation and on the tricks in the book\nhugh miller\nal koran
1967
al koran's professional presentations Hugh Miller, Al Koran
Professional Presentation
including Koran's comments on presentation and on the tricks in the book
historical methods\ndescription of different methods (al baker, slydini, page, elmsley, grant, neil foster)\ngene anderson
1968
newspaper magic Gene Anderson
Historical Methods
Description of different methods (Al Baker, Slydini, Page, Elmsley, Grant, Neil Foster)
on the presentation of mathematical tricks\n\njohann nepomuk hofzinser\nkarl fulves
1969
the pallbearers review vol. 5-8 Johann Nepomuk Hofzinser, Karl Fulves
stagemanship\n- mystify and entertain
- stay in character
- know your audience
- rehearse & try it out
- a word about timing
- end with talent\nfrederick m. shields
1970
the compleat magick - volume 1 Frederick M. Shields
publicity for magicians - part 1\n- define your objective
- identify audience & message
- use the right tools
- newspapers are fine, but...\nbascom jones, jr.
1970
the compleat magick - volume 1 Bascom Jones, Jr.
publicity for magicians - part 2\n- nothing sacred or mysterious
- the publicity release
- how to prepare it
- additional tips
- the promotion kit
- picture publicity
- put it all together\nbascom jones, jr.
1970
the compleat magick - volume 1 Bascom Jones, Jr.
the magic of music ... and vice versa\n- same elements as tv shows
- special effects
- on-site preparation
- tape vs. records\njack kent tillar
1970
the compleat magick - volume 1 Jack Kent Tillar
music for magic\n- salt and pepper
- don't be too clever
- the music should belong
- exceptions to every rule
- music from a to z
- a tip on how to start
- get it on tape
- not easy to do
- how does it sound?\nfrederick m. shields
1970
the compleat magick - volume 1 Frederick M. Shields
comedy magic is serious business\n- bomb out
- has to be unified
- ability comes from within
- experience necessary
- what makes people laugh?
- how to approach comedy magic
- open, middle, close
- get audience reaction
- discipline and immediate yardstick\nmilt larsen
1970
the compleat magick - volume 1 Milt Larsen
close-up theater\n- you're on!
- establish the character
- the table as a mini-stage
- watch the professionals
- challenge ... or entertainment?
- structuring your routine
- naturalness is the key
- how to close\njules lenier
1971
the compleat magick - volume 1 Jules Lenier
what to do about pre-performance jitters\n- stage or mike fright
- mastering your fear
- practice! practice! practice!
- audience-related fears
- an audience is simply individuals
- what an audience wants
- summary\nharold r. mulligan
1971
the compleat magick - volume 1 Harold R. Mulligan
how and when to use a microphone\n- master of the situation
- microphone comedians
- watch the professionals
- seven tips on proper use
- microphone "squeal"
- some information on types
- "special-purpose" microphones\njohn bowery\nmaureen bowery
1971
the compleat magick - volume 1 John Bowery, Maureen Bowery
tarbell never told you about makeup\n- the right amount
- highlights and shadows
- just a little blush
- and speaking of looking natural
- hair
- special problems
- if you have a bad skin condition
- cream cheese and makeup
- so there you have it\nverne langdon
1971
the compleat magick - volume 1 Verne Langdon
the patter hangup\n- the art of silence
- opening remarks
- the segue
- who are you?
- a cautionary word about words
- how to use patter books
- gags can be treacherous
- patter by the yard - or the inch?
- try it out in boston
- patter in disguise\nsid fleischman
1971
the compleat magick - volume 1 Sid Fleischman
tricks of the trade-show trouper\n- what it's like
- sell! sell! sell!
- turn your knowledge into cash
- learn marketing psychology
- know the product
- some of the work is done for you
- booking your act
- visual material helps
- it's the name of the game\nsandy singer
1971
the compleat magick - volume 1 Sandy Singer
the press release, one man's approach or "the most effective promotion is free" part 1\n\ndavid douglas
1971
the compleat magick - volume 1 David Douglas
The Press Release, One Man's Approach or "The Most Effective Promotion Is Free" Part 1
actors, the stage, and magicians\n- actor vs. magician
- customers, coaches, & set designers
- set dressers, makeup men, electricians
- years spent perfecting techniques
- magician vs. actor
- adapt material to fit your style
- where to get help
- that's what friends are for
- make a tape of sour show
- you don't have to look like a bum\nfrederick m. shields
1972
the compleat magick - volume 1 Frederick M. Shields
actors, the stage, and magicians - part 2\n- basic stage talk
- it started long ago
- stage directions
- 'strong' stage positions
- when the curtains part
- break the pattern
- then what?
- shields' firs 'law'
- but ask for help if you need it
- you never whistle the scenery
- check over your equipment\nfrederick m. shields
1972
the compleat magick - volume 1 Frederick M. Shields
actors, the stage, and magicians - part 3\n- need extra tables, lights, special arrangements?
- the ostrich syndrome
- lights make you important
- your 'sorcerer's apprentice^
- role to play
- a bibliography of the theatre\nfrederick m. shields
1972
the compleat magick - volume 1 Frederick M. Shields
ten psychological subtleties for mentalists\n- audience rapport
- proximity is important
- involve audience early
- don't be too perfect
- "is that close enough?"
- safely miss these numbers
- fail to get the zero
- correct an error obviously
- try a 'mental conversation'
- or a compliment
- you can miss cards, also!
- and capitalize on the unexpected\nrobert schwarz
1972
the compleat magick - volume 1 Robert Schwarz
magic with the professional touch\n- stage vs. close-up magic
- what's best for the stage?
- and give them quality - not quantity
- routine your act carefully
- choose your assistant well
- don't work in the dark
- add class with music
- a back drop will set you apart
- what to wear
- entertain your audience\nharry collins
1972
the compleat magick - volume 1 Harry Collins
lecture without a name\nlecture from 1939, views on originality, theory, magic in general\nedward g. brown
1973
the card magic of edward g. brown Edward G. Brown
Lecture without a Name
lecture from 1939, views on originality, theory, magic in general
a brief analysis of the principles of mental magic\nlecture from 1942, thorough categorization of various principles of mental magic\nedward g. brown
1973
the card magic of edward g. brown Edward G. Brown
A Brief Analysis of the Principles of Mental Magic
lecture from 1942, thorough categorization of various principles of mental magic
misdirection\nlecture from 1943, written by colin donister\nedward g. brown\ncolin donister
1973
the card magic of edward g. brown Edward G. Brown, Colin Donister
sleights and subtleties\nlecture from 1947, reported by bruce posgate\nedward g. brown\nbruce posgate
1973
the card magic of edward g. brown Edward G. Brown, Bruce Posgate
fundamentos del ilusionismo\nthe fundamentals of magic, on talent
a) psicologia (psychology)
b) ingenio creativo y habilidad técnica (creative ingenuity and technical skill)
c) presentación y personalidad (presentation and personality)\njuan tamariz
1973
aprenda ud. magia Juan Tamariz
Fundamentos del Ilusionismo
the fundamentals of magic, on talent
a) Psicologia (psychology)
b) Ingenio creativo y habilidad técnica (creative ingenuity and technical skill)
c) Presentación y Personalidad (presentation and personality)
two-dozen tips on presentation\n- look at the little things
- smile sincerely when introduced
- please the women
- make it look easy
- repetition will banish nerves
- use humor where it counts
- your hands are on display
- people want to hear you
- never apologize
- answers can be embarrassing
- your opening trick is important\nron wilson
1973
the compleat magick - volume 1 Ron Wilson
mentalism - the approach is personal\n- the approach to mentalism varies
- why hire you?
- be sure you know more than the audience
- what about the miracle man?
- ancient wisdom
- an adult form of entertainment
- don't worry about being scoffed at
- justify your own approach\nthomas alan waters
1973
the compleat magick — volume i Thomas Alan Waters
stage magic technique\non performing on stage, tv, presentation, know-how and the future of magic\ndavid "fu manchu" bamberg
1973
the oriental magic of the bambergs David "Fu Manchu" Bamberg
Stage Magic Technique
on performing on stage, TV, presentation, know-how and the future of magic
the case for cozenage \nmagician vs. trickster\ntony shiels\nthe page boy speaks...\npatrick page\nthe doc brief...\ntony shiels
1974
pabular Tony Shiels
"card tricks for people who don't do card tricks ...and some for those who do!"\non (un)importance of method vs effect, sleight-of-hand vs gimmick, four basic elements of method:
1. natural law disguised
2. secret activity
3. secretly prepared materials
4. psychology\nphilip t. goldstein
1974
card tricks for people who don't do card tricks Philip T. Goldstein
"Card Tricks for People Who Don't Do Card Tricks ...and Some for Those Who Do!"
on (un)importance of method vs effect, sleight-of-hand vs gimmick, four basic elements of method:
1. Natural Law Disguised
2. Secret Activity
3. Secretly Prepared Materials
4. Psychology
the effect is the thing - part 1\n- showmanship plus effect
- magic for magicians
- 'like a flamenco dancer'
- master the audience
- illusions don't make a showman\nvic perry
1974
the compleat magick — volume ii Vic Perry
some notes on the use of billets - part 1\n- hidden i see
- the unnatural fold
- the switch
- materials
- accessories
- using the notebook
- the untorn center
- area of writing
- the fold\nthomas alan waters
1974
the compleat magick — volume i Thomas Alan Waters
some notes on the use of billets - part 2\n- the tear
- the third finger provides the pressure
- close-up routine no. one
- 'transmitter and receiver'
- close-up routine no. two
- addenda
- for office workers\nthomas alan waters
1974
the compleat magick — volume i Thomas Alan Waters
some notes on the use of billets - part 3\n- forget the mechanics
- the rectangular fold
- "great minds think alike"
- only one move
- clean up
- "wired thought"
- and more
- final notes\nray waters
1974
the compleat magick - volume 1 Ray Waters
mason on mentalism\n- you must suspend disbelief
- make no supernatural claims
- don't be offensive
- be humorous only if you can
- treat spectators with respect
- the framework approach
- some do's to remember
- and some don'ts\nchandler mason
1974
the compleat magick — volume ii Chandler Mason
the effect is the thing - part 2\n- you can't 'copy' showmanship
- audiences want to be entertained
- the mind of the man in the street
- you are 'on' even when you're offstage
- build toward 'effect'
- use your own brand of humor
- sell yourself\nvic perry
1974
the compleat magick — volume ii Vic Perry
six properties of deception\n1. mechanical deception
2. sleight-of-hand
3. misdirection
4. body language
5. intention of reality
6. intention of magic
\nal schneider
1975
al schneider on coins Al Schneider
Six Properties Of Deception
1. Mechanical Deception
2. Sleight-of-Hand
3. Misdirection
4. Body Language
5. Intention of Reality
6. Intention of Magic
some preliminary remarks and opinions of the performing of psychokinetic effects in particular and mentalism in general\nalso on disclaimers\nstephen minch
1975
mind & matter Stephen Minch
Some Preliminary Remarks and Opinions of the Performing of Psychokinetic Effects in Particular and Mentalism in General
basic precepts\n- slydini's secret of entertaining audiences
- the basic starting position (for lapping tricks)
- the eyes
- notes on natural magic
- developing grace
- coordination
- noise
- some general observations
- to conclude\n slydini
1976
the best of slydini ...and more Slydini
the magical tv set\nchildren program, based on a box designed like a tv
- the aerial
- the tv times
- tom & jerry
- commercial break
- egg bag
- commercial time again
- the inevitable western
- the funnel and foo can
- the givaway show
- sade the seal
- torn and restored serviette
- radio to rabbit\nalan shaxon
1976
practical sorcery Alan Shaxon
The Magical TV Set
children program, based on a box designed like a TV
on the presentation of mentalism\n- create an image
- not supernatural
- audience impact
- what to do
- what types of effects
- the method behind the effect
- memorize your patter
- master your audience\nanthony raven
1976
the compleat magick — volume ii Anthony Raven
12 tips on presentation\n- showmanship
- image
- stage fright
- stage entry
- what you say
- stage movement
- voice\nbascom jones
1976
the compleat magick — volume ii Bascom Jones
there are no silent mental acts\non speaking abilities
- powerful tool
- vocal signature
- let your voice relax
- voice quality
- work at it
- practice makes perfect
- some quick tips\nsandy spillman
1976
the compleat magick — volume ii Sandy Spillman
non-verbal communication - the secret edge\n- the secret edge
- put signs in context
- six close-up tips
- when silence takes over
- the subconscious
- with larger audience\nrobert hustwit
1976
the compleat magick — volume ii Robert Hustwit
on the presentation of magick\n- the dictionary
- a need for magick
- things that go bump in the night
- good theater
- how to go about it
- mood and atmosphere
- your props should look the part
- know more than your audience\nanthony raven
1976
the compleat magick — volume ii Anthony Raven
sell the sizzle - not the steak\n- you've got to sell yourself
- you are more important than the effects
- rubber-stamp syndrome
- what audience see...
- ... and what the hear\nbascom jones
1976
the compleat magick — volume ii Bascom Jones
mentalism - for fun or profit\n- words are important
- setting the stage
- the action
- do your homework
- and more homework
- it's the way you say it
- and it pays off
- but entertain\nsandy spillman
1976
the compleat magick — volume ii Sandy Spillman
these changing times ... and you\n- the trick is incidental
- emphasis on showmanship
- selling the concept
- look toward the future
- change with the times
- not stage magic
- stop feeling guilty as an entertainer
- become the part
- be distinctive\ngordon hoener
1977
the compleat magick — volume ii Gordon Hoener
music for mentalists\n- "music that charms"
- what does it cost?
- where do you start?
- what type of music?
- put the music on tape
- rules to remember
- use your imagination\njack kent tillar
1977
the compleat magick — volume ii Jack Kent Tillar
heterogeneous materials: a problem and some solutions\n- the problem
- one solution
- writing tools
- equipment malfunction
- original article being used
- overstock your supplies
- logic is the key\nphilip t. goldstein\ntony shiels "be consistent" in "invocation" #5
1977
the compleat magick — volume ii Philip T. Goldstein
Heterogeneous Materials: A Problem and Some Solutions
stage focus: it's theory and practice\n- lack of discipline
- doing nothing well
- closed performance versus open
- mint-to-mind communication
- the objectives
- motivational clarity
- the bottom line\ndr. thomas k. heino
1977
the compleat magick — volume ii Dr. Thomas K. Heino
fortunetelling is serious business\n- a serious business
- there are exceptions
- a word about 'gag' fortunetelling
- an example
- a sense of responsibility
- reader and subject
- not show business\nthomas alan waters
1977
the compleat magick — volume ii Thomas Alan Waters
anatomy of a mentalists\n- portray the role that fits you comfortably
- students of psychology
- simplicity
- disclaimer...yes or no?
- your alter ego\nbascom jones
1977
the compleat magick — volume ii Bascom Jones
beware of culturally defined identities\n- social stereotypes
- images are becoming less specific
- you must change with the trends
- work the individual
- texts are outdated
- don't assume too much\nphilip t. goldstein
1977
the compleat magick — volume ii Philip T. Goldstein
why, when and who of an assistant\n- youth, sex-appeal, and color
- promotion and publicity advantages
- the part-time assistant
- where to look
- make her a part of the act
- what she should wear
- money well-spent
- the bottom line\nbob brown
1977
the compleat magick — volume ii Bob Brown
dealing with hecklers\n- disruptive influences
- possibly jealousy
- individual approach
- you must deal directly
- begging does not work
- the advantage is yours
- use confidence
- underdog reaction
- temper your response
- don't react defensively
- not one victory
- a fact of life\nphilip t. goldstein
1977
the compleat magick — volume ii Philip T. Goldstein
banquet mentalism - the ready-made audience\n- domino principle
- 'guest of honor'
- social hour
- tips on working
- movement excites audience
- schedule a break
- chairmen are nervous, too
- presentation style
- after the performance
- letters are important\nbarrie richardson\na proper introduction\neric mead
1977
the compleat magick — volume ii Barrie Richardson
a time for heroes\n- "may the force be with you"
- more than a trickster
- you can't be slightly pregnant
- what is an image?
- who do you want to be?
- the conflicting image
- the final step
- apple pie and ice cream\nbascom jones
1977
the compleat magick — volume ii Bascom Jones
valor de la técnica en la magia\non the use and value of technique in magic\narturo de ascanio\ntechnique\narturo de ascanio
1977
la magia de ascanio — vol. 1 Arturo de Ascanio
misdirection\n- consideraciones sobre la "misdirection"
a.) "misdirection de grado mínimo
b.) "misdirection en grado medio
c.) un tercer grado de "misdirection"\narturo de ascanio\n"misdirection" n° 1, 1964.\non misdirection\narturo de ascanio
1977
la magia de ascanio — vol. 1 Arturo de Ascanio
Misdirection
Consideraciones sobre la "Misdirection"
A.) "Misdirection de grado mínimo
B.) "Misdirection en grado medio
C.) Un tercer grado de "misdirection"
timing\n- el "timing" y su fundamento
- las acciones "en tránsito"
- elementos de las acciones en tránsito
- importancia de las "acciones en tránsito"\narturo de ascanio\n"ilusionismo" n° 246, 1969.\nthe fundamentals of timing\narturo de ascanio
1977
la magia de ascanio — vol. 1 Arturo de Ascanio
conferencia\n- mecanismo de la atención
- composición y ejecución
-i. principios de la composición
-a). acentuar la fase inicial
-b). naturalidad condicionada
-c). paréntesis anti-contraste
-d). paréntesis de olvido
-e). susceptibilidad de ejecución lenta
-ii. principios de la ejecución
-a). timing - acciones en tránsito
-b). misdirection
-c). técnica\narturo de ascanio\n"la circular de la escuela mágica de madrid" n° 26, 1977.\nanalysis of an effect\narturo de ascanio
1977
la magia de ascanio — vol. 1 Arturo de Ascanio
Conferencia
Mecanismo de la Atención
Composición y Ejecución
-I. Principios de la Composición
-a). Acentuar la fase inicial
-b). Naturalidad condicionada
-c). Paréntesis anti-contraste
-d). Paréntesis de olvido
-e). Susceptibilidad de ejecución lenta
-II. Principios de la Ejecución
-a). Timing - Acciones en tránsito
-b). Misdirection
-c). Técnica
all-purpose 'back-up' routine\n- the back-up act
- no need for a table
- use a microphone
- the introduction
- the routine
- the tossed-out deck
- number projection
- pseudo psychometry
- magazine or book test
- dollar-bill reading
- and the closing effect\nfredric kolb
1978
the compleat magick — volume ii Fredric Kolb
reflections of a professional mentalist\n- advice for the beginner
- the importance of presentation
- the disclaimer
- judge and jury
- what about the future?\nmaurice fogel
1978
the compleat magick — volume iii Maurice Fogel
constructing a routine\nsame effect... different method
different effects... same props
secret preparation... impossible finale
several tricks... all done at once
routining by presentation\nwalt lees
1979
pabular Walt Lees
Constructing a Routine
Same Effect... Different Method
Different Effects... Same Props
Secret Preparation... Impossible Finale
Several Tricks... All Done At Once
Routining By Presentation
not merely mental\n- jack of all trades
- focus on you
- on selecting a style
- lighting and music
- interdependence of audience
- eye contact
- be receptive
- use your voice
- cold audience start slower
- play your spectators
- and, finally, play your audience\ndorfay
1979
the compleat magick — volume iii Dorfay
anderson on mentalism\n- "you must entertain"
- someone will know the gimmick
- if the impulses apply
- we're more alike than different
- a stock final reading
- keep your test few and simple
- a blockbuster finish
- concerning style
- questions can be entertaining too\ngeorge b. anderson
1979
the compleat magick — volume iii George B. Anderson
your microphone can do it all\n- a tool of your trade
- mike-conscious
- the cordless microphone
- what they cost
- is it worth it?
- if you don't have a wireless mike
- tips on microphone use\ngeorge b. anderson
1979
the compleat magick — volume iii George B. Anderson
mentalism "my way"\n- develop your own style
- do your homework
- don't let the pace drag
- magic apparatus doesn't belong
- stay in spotlight
- be conservative in your claims
- surprise adds drama to an effect
- you can't sustain unbroken suspense
- only magicians are perfect
- break the rules... knowingly\norville wayne meyer
1979
the compleat magick — volume iii Orville Wayne Meyer
six qualities of the performance\n1. importance
2. non-challenge
3. quality of the performer
4. control
5. communication
6. clarity\nal schneider
1980
al schneider on close-up Al Schneider
Six Qualities Of The Performance
1. Importance
2. Non-Challenge
3. Quality Of The Performer
4. Control
5. Communication
6. Clarity