dariel fitzkee - magic by misdirection
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Magic by Misdirection
TABLE of CONTENTS
a. Which is the cart and which is the horse b. Exposing the wheels c. Made to measure tricks d. Hand-me-downs in magic e. Are the classics best? f. What makes a trick great? Life g. Seven corpses h. Peregrinating professors i. A "classic" is born j. Classics, capability and cads k. Blockbusting old ideas l. The spectator's think-tank
m. Seeing and believing.
1. CHAPTER I REAL SECRETS OF MAGIC a. Taking up where we left off b. New gods for old c. Exposing the exposure
d. Skill or duffer e. Giving the bird to the bird cage f. Aren't we all duffers? g. Ignoring the important h. True skill i. The real secrets of magic j. False whiskers and attention k. True or false.
2. CHAPTER II THE IMPORTANCE OF INTERPRETATION a. More of the same b. Exposure is impossible c. Can you read a magician's mind? d. The performer paints his own picture e. Interpretation to confound f. Conviction g. By these signs ye shall know them h. Acting-Diebox deception.
3. CHAPTER III CONVICTION AND NATURALNESS a. The important ingredients b. If you believe it, it's so c. Convince yourself d. Spectator instinct e. Naturalness f. How to convince without argument g. Disguise and attention h. Attention control comes forward i. Reasons j. The importance of convincing yourself.
4. CHAPTER IVWHAT ACTUALLY DECEIVES THE SPECTATOR a. Money to burn b. Marked and borrowed, but found in an impossible place c. Behind the scenes d. The plant-Pilferage e. Disappearing rubber f. No machinery necessary
g. All through psychology h. The spectator's viewpoint i. Disguise and attention j. Money cheerfully refunded.
5. CHAPTER VTHE PSYCHOLOGICAL EXPEDIENTS a. Through the rnicroscope b. Simulation c. Dissimulation d. Interpretation e. Maneuver f. Pretense g. Ruse h. Anticipation i. Disguise j. Diversion k. Monotony l. Premature consummation
m. Confusion n. Suggestion o. Disguise plus disguise plus attention control p. And more of the same.
6. CHAPTER VIREACHING THE SPECTATOR'S MIND a. The attack on the spectator's understanding b. External appearances and interpretation c. Suggestion and implication d. Danger in the direct statement e. You can't force the spectator' s conclusions f. Inducement and persuasion g. Confusion with a bank note h. Deduction versus induction.
7. CHAPTER VIIPROCESSES WITHIN THE SPECTATOR'S MIND a. The spectator must be deceived b. The spectator's perceptions c. The mind, only, perceives d. The spectator's consciousness
e. Magicians must attack the spectator's understanding f. Mind stimuli and idea association g. The spectator's mind is not a pushover h. He is consciously intelligent i. Details do the trick.
8. CHAPTER VIII THE IMPORTANCE OF THE NORM a. How the spectator views the performer's appearance b. The important norm c. Discord brings damaging attention d. Characteristic naturalness e. Bewilderment not deception f. Disguise g. Dice and rabbits h. Palming a card i. Diversion j. The importance of naruralness.
9. CHAPTER IXTHE NORM IN SPEECH a. Speech in deception b. The norm in speech patterns c. Variations "telegraph" d. What as well as how e. Subject matter norm f. Undue emphasis g. The strength of implication h. An example with bonds i. With tubes j. The norm in attitude k. What magic really is l. Imitation magic-Speech in attention diversion
m. The scorched thumb n. Any solution destroys deception o. Things important to the magician.
10. CHAPTER XTHE NORM IN PROPERTIES a. Properties in deception b. Familiar things accepted more quickly
c. Handling for deception d. A lesson from Kellar e. Pulling the lesson apart f. Applying the Kellar lesson g. Tricky appearance destroys deception h. A general idea satisfies the spectator i. Strengthening deception by appearance of properties.
11. CHAPTER XIDISGUISE AND ATTENTION CONTROL a. The magician has but two courses b. Disguise and attention control c. With a changing bag d. How important does it seem to the magician? e. Substituting a stronger interest f. Disguise in many forms g. Physical and psychological disguise h. Frames, stocks, bottles and miscellany i. The effectiveness of mixing the true with the false j. A magician's tool does not deceive k. Disguising the tool.
12. CHAPTER XIISIMULATION a. Harping on an old obsession b. The true spectator response c. We can only baffle d. Seeing versus thinking e. Simulation f. The necessary support to simulation g. Bowls, egg bags, cigarettes, cards, ropes, turbans, billets, rings, eggs h. Ultimately all is acting.
13. CHAPTER XIIIDISSINIULATION a. Dissimulation b. Acting again c. Special decks d. Preparing for dissimulation e. More rising cards f. Bottles, clocks, production boxes, egg bags
g. Dissimulation with cards h. Distinctions i. Many disguises.
14. CHAPTER XIVMANEUVER a. Maneuver for deception b. An example with bottle c. A routined series of movements d. Maneuver with cards e. Maneuver as used by Al Baker f. The distinction.
15. CHAPTER XVRUSE a. The ruse in deception b. Purposes disguised c. With billiard balls d. With tied thumbs e. Ruse with card sleights-In a divination effect f. Illusions, cards, silks.
16. CHAPTER XVISUGGESTION AND INDUCEMENT a. Disguise in many forms b. Suggestion and inducement c. Disguised force d. The hypnotic process e. In mind reading f. Breaking a pencil g. Oranges, bills, bells, beads, pegs, balls.
17. CHAPTER XVIIATTENTION CONTROL a. Attention control b. Misdirection c. Many forms of control d. Anticipation e. Premature consummation f. Monotony g. Confusion h. Diversion
i. Specific direction j. Anticipation with cards k. Varied examples l. Tricks and illusions with attention control.
18. CHAPTER XVIIIANTICIPATION a. Spectator attention b. The manner of controlling attention c. To accomplish interest d. Suspense e. Animation f. Detail on attention control g. Anticipating the attention h. Cups. balls, cards, running up decks i. Fire and water.
19. CHAPTER XIXRELAXATION, MONOTONY, CONFUSION a. Premature consummation and Kellar's use of it b. Stephen Shepard and his bird cage c. Stripped of all illusions d. With six silk handkerchiefs e. The performer must set the pattern for the spectator f. Thought force is concrete g. The language of the mind-Monotony h. Examples by Leslie Guest i. Confusion j. Balls, finales, rings, pellets. coins k. Confusion a la Blackstone l. Keep it quiet.
20. CHAPTER XXDIVERSION AND DISTRACTION a. Diversion for deception b. With a handkerchief and a wine glass c. Details d. The power of suggestion e. Specific detail f. The most subtle stratagem g. Its mechanics
h. Bowls, bat loads, cards, eggs, chickens i. Leslie Guest again j. With a rabbit k. Distraction l. Beware repetition
m. Clocks, girls, trunks.
21. CHAPTER XXISAMPLES OF ATTENTION CONTROL a. Attention control stratagems in action b. Stephen Shepard and a tall glass c. Madison with a pack of cards d. An idea from seeing Tommy Martin e. Cards to the pocket f. Levitation g. Switching the judge.
22. CHAPTER XXIIREAL DECEPTION a. Real skill in magic b. Pulling levers-Banish the goofs c. Psychology is the first requirement d. Pulling the tricks apart e. Planning the procedure f. Misdirection covers weak spots g. Misdirection aids interpretation h. Multitudes of examples i. Good deception is fundamentally good acting.
23. CHAPTER XXIIITHE MOST IMPORTANT SKILL a. Strong support b. Robert-Houdin c. Why never to reveal in advance d. H. J. Burlingame e. Nevil Maskelyne f. Why never to repeat g. Underestimated intelligence h. Repetition i. The card sharper j. Deception for keeps
k. Scarne's greatest skill l. Learn from the real masters
m. The real secrets of magic.
When a magician steps out in front of an audience, lie does so as an entertainer. The fact that he is a magician is entirely secondary, from the viewpoint of his spectators. While it is true that the audience may be there because he is a magician, it is even more true that his spectators are there because they expect to be entertained-entertained by magic. Very frequently even this is not true. Many times the audience is there to be entertained, without consideration being given as to the particular kind of entertainment. Most frequently, perhaps, the magician is merely one of several types of entertainers.
Thus SHOWMANSHIP FOR MAGICIANS attempts to cover what I believe to be the most important field for the performing magician. It is intended to help the magician to prepare his performance so that it will be most palatable for his spectators.
To some, this may seem as if the cart were before the horse. At first thought it might seem more logical to start with the mechanics of magic. It might be argued that before you can have an entertaining magician, you must have a magician.
I choose the opposite viewpoint. I select this stand because I feel the performer must be an entertainer first. That is essential, in my opinion. Entertainment considerations must far outweigh the particular kind of performance the entertainer may elect to give.
Still under the head of showmanship, the particular vehicle having been selected, the entertainer must give consideration as to how his offering may be adapted for maximum entertainment results. This must be taken, always, from the viewpoint of the spectat