Burling Hull - The Art of the Stage

THE ART OF THE STAGE MAGICAL

STAGECRAFT AND SHOWMANSHIP

AMERICAN

MAGIC O N L Y

A D D R E S S :

WILL ANDRADE 2 0 1

B O U R K E

ST..

M E L B O U R N E .

CORPORATION

llB«'

—

W I L L ALMA

M.I.M.C. ( L O N D O N )

The Art of the Stage PART ONE

Magical Stagecraft including Effective Entrance, Dramatic Presentation, Elocutionary Principles, Pronunciation, Carriage, Gesture, Voice Power, Bowing, Dress and Stage Deportment

By BURLING HULL author

of

"Expert Billiard Ball Manipulation" "Matter Sleights with'Billiard Balls" "Bulletin of Latest Sleights and Tricks" "Thirty-one Rope Ties and Chain Releases" "Sealed Mysteries" "Sleight Sheets" "Deviltry" "Sleights"

COPYRIGHT,

AMERICAN MAGIC

1914

CORPORATION

PUBLISHERS

LONG BEACH BUILDING iimmuiiiiMm—ii

NEW YORK CITY

Contents of Tart Tlvo

"Magical Showmanship" UNIFORM WITH THIS VOLUME STAGE FRIGHT AND ITS CURES:

Its cause a n d a certain method of

a v o i d i n g it. STAGE NERVOUSNESS A N O T H E R T H I N G :

HOW

experienced

perform-

ers overcome its a t t a c k s — a d v i c e f r o m the author. M u s i c FOR MAGICAL ACTS: Suitable pieces s u g g e s t e d — t h e i r application. OPENING TRICK : S t y l e of trieks suitable f o r o p e n i n g — b a d results of good tricks used f o r o p e n i n g — t h e p e r f o r m a n c e — l i s t of tricks suggested f o r opening and methods of p r e s e n t i n g t h e m — o r i g i n a l opening t r i c k s b y the author designed f o r L y c e u m u s e — c o n s t r u c t i o n of opening tricks. SECURING APPLAUSE : Methods of l e a d i n g audience to a p p l a u d — a n d applause-drawing tricks—creating applause—methods of creating a p p l a u s e — s t a r t i n g a p p l a u s e — f o r c i n g applause w h e n s l o w — w h y some acts go " c o l d " — s e c r e t of d r a w i n g a p p l a u s e — m e t h o d s of dramatic presentation to d r a w a p p l a u s e — h a n d l i n g c u r t a i n s — u s i n g c u r t a i n s to prolong a p p l a u s e — c u r t a i n s at end of illusion act. CONCLUSION OF ACT: C u r t a i n c a l l s — s p e a k i n g before c u r t a i n — bowing off. ENCORES: G r e a t d a n g e r of e m p l o y i n g even the best of t r i c k s f o r e n c o r e s — l i s t of tricks suitable f o r e n c o r e s — a u t h o r ' s suggestions—some humorous effects f o r e n c o r e s — w h e r e encores can be used to a d v a n t a g e . PROGRAM OF H I T S FOR SPECIAL OCCASIONS :

Hits for large

conven-

t i o n s — s o m e combinations suggested f o r l o d g e a n d c l u b — h i t s f o r children's entertainments—hits for church entertainments—features for c h i l d r e n ' s e n t e r t a i n m e n t s — s p e c i a l p r o g r a m f o r p r i v a t e society entertainments.

PREFACE When a magical

s t u d e n t of some y e a r s of e x p e r i e n c e ,

having

s o l v e d the m y s t e r i e s of m a g i c , m a s t e r e d his m a n i p u l a t i o n s a n d m a d e a n a p p r o p r i a t e e x p e n d i t u r e on a p p a r a t i a n d m a g i c a l equipment, his first b o n a fide p r o f e s s i o n a l p e r f o r m a n c e ; he s u d d e n l y t h a t he is a v e r i t a b l e n o v i c e in the real a r t of the stage.

essays

discovers

I t m a k e s no

d i f f e r e n c e w h e t h e r he h a s d e v o t e d five y e a r s or t e n y e a r s to p r i v a t e practice a n d s t u d y ; whether he knows every trick in the d e a l e r ' s c a t a l o g ; w h e t h e r he h a s w r i t t e n his " O r i g i n a l

Creations"

f o r the

magical

m a g a z i n e s , or w h e t h e r he h a s g i v e n one, or one h u n d r e d p e r f o r m a n c e s a t p a r t i e s , a t his l o d g e or his c h u r c h , a n d t h e r e b y f e e l s himself e q u a l if not the s u p e r i o r of m a n y professionals.

When

he first

steps

out

b e f o r e a r e a l a u d i e n c e — n o t an a u d i e n c e composed of a f e w h u n d r e d persons, a c h u r c h audience, o r c h i l d r e n ' s audience, or a club or l o d g e audience w h i c h is a l r e a d y in a good h u m o r ; b u t a real t h e a t r e

or

l y c e u m or convention audience composed of persons who a r c used to a t t e n d i n g t h e t h e a t r e a n d w i t n e s s i n g a c t s o f t h e first o r d e r — i n o t h e r w o r d s , the k i n d of a u d i e n c e t h a t sits b a c k a n d seems to s a y , " W e l l , g o a h e a d a n d show u s w h a t y o u h a v e " — t h e n

all h i s k n o w l e d g e

and

e x p e r i e n c e in m a g i c , as he k n o w s it, p a l e s into i n s i g n i f i c a n c e b e f o r e t h a t "something."

Something

w h i c h does not

logs, or sold over the D e a l e r ' s counter.

b o o k s or m a g a z i n e s , n o r l e a r n e d f r o m the c h a n c e , " magicians, who lounge

.appear in

Something

the

cata-

not f o u n d in magical

"Would-be-if-they-had-a-

about the magical stores and tell us

w h a t is the m a t t e r w i t h M a g i c . T h i s S o m e t h i n g is the T h i n g w h i c h makes the difference between the R e a d e r who is clever and the G r e a t Kellar "Magic"

who

is

not—between

and " t r i c k s . "

Houdini

and

his

imitators—between

I t is the d i f f e r e n c e b e t w e e n

the

clever

" M a g i c i a n - a b o u t - T o w n " w h o c a n " f o o l all tlie w i s e o n e s " at close r a n g e but g o e s " f l a t " w h e n he a t t e m p t s a l a r g e s t a g e — a n d the r e a l p e r f o r m e r w h o fills the l a r g e s t s t a g e w i t h his p e r s o n a l i t y w h i l e perf o r m i n g tricks w h i c h the " C l e v e r "

magician

considers " d e a d "

but

w h i c h his a u d i e n c e s enthuse o v e r . T h i s Something is Stagecraft,

and

Showmanship.

T h e m a g i c i a n w h o has learned how to do t r i c k s — g o o d e v e n o r i g i n a l t r i c k s ; h a s l e a r n e d b u t half less t h a n h a l f .

of his lesson.

H e has l e a r n e d some t r i c k s b u t n o t how to

them to please an a u d i e n c e .

tricks— In fact, present

H e has l e a r n e d f r o m w h i c h e x i t to come

u p o n the s t a g e b u t n o t h o w to carry himself w h e n he is there. He has learned some words to say but not how to say them. A n d his voice, w h i c h a l w a y s seemed to s e r v e him w e l l b e f o r e , he n o w finds is w e a k and squeaky, and will not carry across the footlights. A n d , y e t , the m a g i c a l s t u d e n t is n o t to blame f o r this, f o r t h e r e is no one to tell him, e v e n t h a t he l a c k s a n y t h i n g . His " f r i e n d " , the t a l k a t i v e " m a g i e i a n - a b o u t - t o w n " k n o w s n o t h i n g of the a r t of the stage, of elocution, d r a m a t i c a r t a n d s h o w m a n s h i p , d r a m a t i c expression, c o n t r o l l i n g an audience, e f f e c t i n g a c l i m a x , or c r e a t i n g applaxise a t will. I f he did he w o u l d not be a " M a g i c i a n - a b o u t ' t o w n . " T h e r e f o r e , in p r e s e n t i n g this v o l u m e to m y f r i e n d s a n d to m y m a g i c a l r e a d e r s ( w h o I hope b y this time are also m y fi-iends), I f e e l t h a t I m a y be c o n t r i b u t i n g s o m e t h i n g f o r w h i c h t h e r e is a n a c t u a l need in m a g i c a l l i t e r a t u r e . M o r e t h a n f r o m a n y e x p e c t a t i o n of financial profit, I h a v e been m o v e d to o f f e r this w o r k to earnest students of Magic, w i t h the hope t h a t i t will assist them along the w a y which I travelled b y a more laborious r o a d ; t h e r o a d of h a r d experience. F o r t u n a t e l y , a t a n e a r l y p e r i o d in m y o w n w o r k , I r e c e i v e d a t r a i n i n g in D r a m a t i c A r t a n d E l o c u t i o n (a course w h i c h I h a v e f r e q u e n t l y r e c o m m e n d e d to o t h e r s ) , b u t i t is a l e n g t h y a n d e x p e n s i v e p r o c e d u r e ; and i t w a s in t h e hope of p l a c i n g a t t h e disposal of t h e magical student as m u c h of this i n f o r m a t i o n as possible, along w i t h t h a t w h i c h I h a v e g a i n e d in m y o w n e x p e r i e n c e , t h a t I p r e p a r e d this treatise. I n spite of the a d v a n t a g e s gained f r o m m y t r a i n i n g i n D r a m a t i c A r t and Elocution, supplemented b y professional e x p e r i e n c e ; I w o u l d hesitate to a t t e m p t to i m p a r t this k n o w l e d g e to others, w e r e it n o t t h a t I f e e l t h a t eight y e a r s of e x p e r i e n c e a s a m a g i c a l i n s t r u c t o r ( p r o b a b l y the o n l y one t e a c h i n g these s u b j e c t s ) to a l a r g e n u m b e r of pupils, has somewhat qualified me to do so i n a manner easily assimilated b y the m a g i c a l student. I t is hoped t h a t I m a y r e a c h a n d assist i n this w a y m a n y w h o are outside the p a l e of p e r s o n a l i n s t r u c t i o n . I n p r e p a r i n g this treatise, w h i c h , l i k e m y p r e v i o u s w o r k s on Billiard B a l l s ; Rope Ties; Handkerchief Magic and Thimble Tricks, is a p i o n e e r on its s u b j e c t ; t h e r e h a s been no p r e v i o u s w o r k f r o m w h i c h I could d r a w a n y assistance. T h e r e f o r e , I realize its s h o r t c o m i n g s , in spite of my efforts to incorporate in it as l a r g e an amount of results of p r a c t i c a l experience as possible. H o w e v e r , I t r u s t t h a t t h e y will not be g r e a t e r t h a n those of m y p r e v i o u s w o r k s f o r y o u r g e n e r o u s a p p r o v a l of w h i c h I here e x p r e s s m y sincerest a p p r e c i a t i o n . F r a t e r n a l l y yours, BURLING GILBERT GALT HULL. New Y o r k City, M a y 15,1914.

T h e State Library of Victoria " A L M A CONJURING COLLECTION"

Dramatic Art and Elocution ENTRANCE T h e entrance should be made in accordance w i t h the manner or style of presentation w h i c h the p e r f o r m e r affects. I f the m a g i c i a n p e r f o r m s in a quick, s n a p p y manner, the entrance should be made at a rapid gait. T h e step should be quick and a little shorter than the ordinary step, in order to throw the action on the toes. A r a p i d entrance in a step of the usual l e n g t h gives m u c h the effect of " p o u n d i n g the h e e l s . " T h i s entrance is best made f r o m the side near the back, describing an arc and termina t i n g in a central position before, but not too near the footlights. One of the most s u r p r i s i n g f a u l t s common i n some of the best p e r f o r m e r s who are of sufficient experience to know better, is the habit of s t a n d i n g too close to the footlights, w i t h the result that they are made to a p p e a r hideous. T h i s not o n l y gives a bad impression, b u t throws the mouth in such deep shadoiv t h a t it becomes more difficult to distinguish the perf o r m e r ' s words. I f tho m a g i c i a n p e r f o r m s in a leisurely, semi-mysterious manner, the entrance should be of similar style, preceded by a slight pause before entrance and another pause before the address, to heighten the effect. T h e c a r r i a g e should be easy and g r a c e f u l steps of a v e r a g e length, r a t h e r inclined toward a modification of w h a t is k n o w n as the " E n g l i s h r o l l . " I n this case it is better to a p p e a r a t the back and w a l k directly f o r w a r d . I f the intention is to present some i n t r o d u c t o r y effect immediately f o l l o w i n g the address (and this is generally f a v o r e d ) , it should be somet h i n g of the p r e t t y order, quick and flashy, that does not require a n y p r e p a r a t i o n before the a u d i e n c e — a t r i c k e m p l o y i n g handkerchiefs, flowers, flags or articles of a similar n a t u r e ; never a sleight or series of sleights. Some p r e f e r to make a short address first, but audiences do not p a y a g r e a t deal of attention to tho address unless they h a v e something to interest and hold the eye. I f the p e r f o r m e r wishes the article f o r the first experiment to be in sight before his entrance, it is best to h a v e it upon, say, the l e f t table, approach f r o m the side or back, passing between the tables, t u r n f a c i n g the audience, pick u p the article and come f o r w a r d . A l w a y s f a c e t o w a r d the audience before t a k i n g u p article, f o r if y o u w a l k t o w a r d table, pick u p article, then t u r n t o w a r d the audience, y o u give the impression that securing the article was of first importance and the audience of secondary. CARRIAGE C o r r e c t carriage, while of importance t h r o u g h o u t the entire act, is of the greatest importance in m a k i n g the entrance. T h e p e r f o r m e r is l i k e l y to have m a n y t r y i n g details to attend to j u s t before g o i n g u p o n the stage w h i c h has a t e n d e n c y to make h i m droop his shoulders and lose the

p e r f e c t equilibrium necessary to correct carriage. T h e r e f o r e , I g e n e r a l l y encourage my students to " s e t " themselves before entrance, b y the followi n g means: S t a n d i n g w i t h the f e e t together, raise the arms s t r a i g h t u p over the head, rising on the toes at same t i m e ; then, without bending the arms, b r i n g them slowly out to the sides level with the shoulders; t h e n down to tbe sides, d r o p p i n g back till the heels touch the floor. T h i s brings the body into p e r f e c t balance, w i t h the shoulders squared, chest t h r o w n out and head tilted back, a n d causes the p e r f o r m e r to feel that feeling of exhilaration which a l w a y s accompanies correct c a r r i a g e . Most of the weight should be borne on the balls of the feet at all times. POSITION I n standing, the proper distance f o r the feet is f r o m three to five inches apart, regulated to the p e r f o r m e r ' s height. B y all means avoid settling the weight on one foot while standing. C a r e should be taken to stop in the position in which you intend to stand, as this eliminates the necessity of s h i f t i n g the feet. COMMON F A U L T S A common f a u l t w i t h p e r f o r m e r s is t h a t of stooping the shoulders while m a n i p u l a t i n g , so t h a t the p e r f o r m e r ' s head comes between the hands and the audience, c u t t i n g off the l a t t e r ' s view. Keep the head well up, arms well extended about level w i t h the shoulders. D o not keep the eyes constantly on the hands. Look a t y o u r audience f r e q u e n t l y a n d make use of the p l a y of expression. TURNING O n l y about two of each t e n p e r f o r m e r s t u r n correctly i n the " c h a n g e over p a l m . " T h i s is probably because their mind is so occupied w i t h the execution of the sleight that they neglect the movement. M a n y , a f t e r showing one hand, s w i n g around on the heel a n d exhibit the o t h e r ! K e e p the heels off the floor and t u r n on tho toes. I f f a c i n g the left, h a v e the left foot s l i g h t l y in advance. W h e n the moment f o r the change arrives, d r a w the r i g h t foot a little f u r t h e r back, raise the heels s l i g h t l y and the t u r n can be g r a c e f u l l y accomplished on the balls of the feet without effort. A v o i d t u r n i n g the back squarely u p o n the audience at all times. W h e n it is necessary to pass f r o m a position i n f r o n t to the back of the stage, in order to secure some article f r o m y o u r table, do not t u r n squarely around a n d w a l k a w a y w i t h y o u r back t o w a r d the audience. A r r a n g e to have the article on a side table, or, if it must be at the back of the stage, a r r a n g e to b r i n g yourself to a position at the f r o n t of the stage, but a little to one side, so t h a t y o u r course a w a y f r o m t h e audience will be at an angle. A p e r f o r m e r w a l k i n g d i r e c t l y u p or down the stage, owing to the arrangement of the stage, creates a grotesque illusion resembling a person climbing a ladder. Therefore, a l w a y s approach the f r o n t or back at an angle w h e n e v e r possible. A n o t h e r illusion common to the stage is that w h e n w a l k i n g directly across the stage at right angles to the audience, the performer's feet frequently appear to be hopping

over each other. A s this is most noticeable when the first step is taken w i t h the left foot in w a l k i n g to the right or w i t h the right foot in w a l k i n g to the left, this m a y be avoided by t a k i n g the first step with the foot which is furthest from the audience. ELOCUTION A voice of sufficient depth and clarity, and correct pronunciation, are of the greatest importance to the magician, a n d if they are not qualities n a t u r a l l y possessed, they must be cultivated before a n y material degree of success in public entertaining m a y be attained. T H E SECRET OF VOICE

POWER

T h e secret of voice power is correct breathing. Most performers, in breathing, fill only the u p p e r p a r t of the l u n g s — t h a t w h i c h is contained in the chest. Singers, lecturers and public speakers employ w h a t is k n o w n as abdominal breathing. - S t a n d i n g in a n a t u r a l position, fdl the u p p e r l u n g s so that the chest is expanded. I t will now be f o u n d , that by p e r m i t t i n g the abdomen to expand, considerably more air m a y be taken in. In abdominal b r e a t h i n g the lower l u n g s are filled first, and then the u p p e r . T h i s is not only the correct method of b r e a t h i n g from the physical standpoint, but is particul a r l y necessary fo p u b l i c speakers or p e r f o r m e r s , because the increased flow of breath results in g r e a t e r vocal power. Tn actual practice there is no d i s t i n c t i n t e r v a l b e t w e e n e x p a n d i n g the u p p e r and l o w e r p o r t i o n s of the l u n g s , t h e action b l e n d i n g into one. PRONUNCIATION M a n y w h o are b u r d e n e d w i t h indistinct p r o n u n c i a t i o n are a w a r e of it, but do not know in w h a t direction the f a u l t lies. T h e more simple habit of s p e a k i n g too r a p i d l y and r u n n i n g the w o r d s together, must, of course, be overcome a t the start. T h e cause of indistinct pronunciation is p r i n c i p a l l y in the tongue, l i p s and teeth t a k i n g the w r o n g position. Do not let the tongue lie flat against the roof of the mouth, f o r this gives a sloughing sound to the speech. Do not permit the tip of the tongue to lie between the teeth, f o r this w i l l give a p e c u l i a r lisp to y o u r words. T h e p r o p e r position f o r the tongue m a y be f o u n d b y p r o n o u n c i n g the w o r d "Thou" and retaining the tongue in the last position. The tip of the tongue will now be f o u n d to not quite touch the lower t e e t h — t h e middle of the tongue being slightly hollowed out. I n speaking, keep the lips slightly parted, d r a w the corners of the mouth back a little to give the lips p e r f e c t freedom. Not only does this lend additional distinctness to the words, b u t if a n y of y o u r hearers are unable to catch certain words, the movement of your lips will enable them to distinguish your remarks. SYLLABIC PRONUNCIATION AND VOICE PITCH P r o n o u n c e all syllables separately a n d d i s t i n c t l y — d o not r u n them together. A v o i d the abbreviations used in o r d i n a r y conversation, such as " d i d n ' t , " " c o u l d n ' t , " " h a v e n ' t , " and so on. P r o n o u n c e each syllable separately. E x p e r i e n c e w i l l q u i c k l y prove t h a t w h i l e y o u cannot pro-

nounce the sound " n ' t " strongly, y o u are able to shout " n o t " w i t h ease. A n o t h e r common f a u l t is t h a t of p i t c h i n g the voice too high, w h i c h causes the voice to sound weak and squeaky. T h e best p i t c h f o r the speaking voice is about the same as lower G on the piano. A s a general rule, persons speaking in o r d i n a r y conversation employ a pitch m u c h too high f o r public speaking, so t h a t the student is safe in p i t c h i n g his voice about two or three notes lower than he ordinarily uses in conversation. OPENING REMARKS I t is the w r i t e r ' s personal opinion that the opening address is better l e f t out. The d a y of the lecturing p e r f o r m e r is past. T h e stage is i n too m u c h of a h u r r y n o w a d a y s to listen to i n t r o d u c t o r y preambles. The audience comes to see and hear something novel—they desire action above all else. T h e w a t c h w o r d of the stage to-day is "Do something, do it well, a n d do it quickly." T h i s does not mean that the p e r f o r m e r must h u r r y his act or crowd in too much material by a n y means. L e t h i m w o r k as slowly as he can and retain the attention of his audience a n d the audience w i l l a p p r e c i a t e him the more. B u t it does mean t h a t he must ivaste no time in preparation before the audience, and no time in useless introduction. W H A T NOT TO S A Y However, i f the student desires to use an opening address, the followi n g are some things that he should a v o i d : Do not use the f a m i l i a r phrases employed b y the b o y i n the smalltime theatres in announcing t h a t he sells a n e w k i n d of p e a n u t c a n d y , such as " T ' a n k i n g y e r f e r y e r k i n ' a-ten-sliun,'' or its t w i n brother, ' ' I shall en-dev-er," or " I will now en-dev-er t o . " D o not get off t h a t little joke of F a t h e r A d a m about " s h a p e or f o r m . " Also, y o u need not mention the sleeves. T h e audience " k n o w t h a t y o u p u t rabbits, glasses of w a t e r , etc., u p them j u s t the s a m e , " but this n e e d n ' t w o r r y y o u as long as y o u r salary continues. SOME SUGGESTIONS I f it is desired to use a n i n t r o d u c t o r y address, let it consist of one sentence, slowly, clearly a n d well spoken, of the f o l l o w i n g n a t u r e : " L a d i e s and G e n t l e m e n : — I request y o u r attention while I present a f e w experiments in M y s t e r i a , " or " I beg to present some experiments in M y s t e r y . F o r the first, let me direct y o u r attention t o " — ( n a m e the article to be used in the first t r i c k ) . A n o t h e r form w h i c h I have recommended to m y students i s : " L a d i e s a n d G e n t l e m e n : — I am pleased to present my new act, entitled ' M y s t e r y A r t . ' " ( O n l y the reader is requested to substitute his oivn title in place of " M y s t e r y A r t , " w h i c h is f u l l y protected by the c o p y r i g h t of the author.) Be particularly careful to pause after "Ladies" and "Gentlemen." D o not say " L a d i e s a n d g e n t l e m e n l b e g t o , " etc., all in one word or one breath. A l s o bear in mind that " L a d i e s and G e n t l e m e n " is not all one w o r d . S a y " L a d i e s " as if addressing a person at the l e f t of the house, and then, t u r n i n g slightly to the right, " G e n t l e m e n , " as if adddressing

a n entirely different i n d i v i d u a l at the other side, m a k i n g a slight p a u s e between the two. Incidentally, it is better, whenever possible, to fix y o u r eyes on some i n d i v i d u a l or some object about level w i t h y o u r eyes, r a t h e r than to look t o w a r d y o u r audience b l a n k l y , f o r if y o u look at y o u r audience b l a n k l y y o u not only a p p e a r to have a blank expression to those in front, but in a great many i n d i v i d u a l s the eyes will cross w h e n looking at space. I f the reader will seat himself and look b l a n k l y into space f o r a minute and request some one to notice whether his eyes cross, he w i l l g e n e r a l l y l e a r n that t h e y do. R e t u r n i n g to the subject of the opening address, I must caution the student not to run his words hurriedly together, w h i c h is a common f a u l t of nervous beginners, who commence their address with the words, " L a d e e s - a n - G e n e l m i n . " A n o t h e r error, but of the d r a w l i n g speaker, is to say " L a - d e e s - z a n d - G c n - t u l - m a n . " The p r o p e r divisions are as follows, spaces i n d i c a t i n g the length of pause between w o r d s : " L a d i e s and Gentlem e n — I b e g to p r e s e n t m y l a t e s t — " e t c DRESS T h e m a t t e r of a p p r o p r i a t e dress for the magical p e r f o r m e r is one most f r e q u e n t l y misunderstood. I t a p p e a r s to be an accepted t r a d i t i o n t h a t a m a g i c i a n must in all eases and at all times w e a r evening dress. No g r e a t e r mistake could be made, for tbe dress suit being a tight-fitting and r a t h e r eccentric f o r m of dress, lias a tendency to set, off p r o m i n e n t l y a n y imperfections or i r r e g u l a r i t i e s of the human form. T h e man of a v e r a g e height or slightly over, who is well proportioned, g e n e r a l l y a p p e a r s to a d v a n t a g e in evening dress, especially if lie possesses square cut shoulders of f a i r breadth, f u l l chest, medium l e n g t h of a r m and correct carriage. M e n w i t h sloping shoulders or hollow chest, l o n g neck, stooping carriage or extreme length of arm, should avoid e v e n i n g dress, which tends to accentuate these features. T o tbe clean-cut i n d i v i d u a l , e v e n i n g dress lends distinction; to m a n y others it gives the a p p e a r a n c e of waiters. T h e r e is no need to adhere to a f o r m of dress unsuited to the individual, and a n e a t l y tailored suit, cut slightly longer t h a n usual and somewhat form-fitted, will give tho w e a r e r a much better appearance. W h i l e evening dress should never be w o r n in the afternoon b y a society or club entertainer, it m a y be w o r n at stage matinees and be considered " c o s t u m e . " THE BOW T h e bow, u p o n entrance, should be b u t an inclination of the head, w i t h possibly the slightest inclination of tbe shoulders, as it acts merely as a f o r m of greeting or acknowledgment. T h e bow of greatest importance is that made either at the conclusion of the act or u p o n the conclusion of some picce-de-resistancc. T h i s bow should be made b y first b e n d i n g the back, then the shoulders, and finally, the head. B o w i n g f r o m the waist a p p e a r s stiff a n d mechanical. The eyes should be k e p t on the audience and the bow never so low as to p r e v e n t tliis, except i n the case of the final bow, in w h i c h the eyes m a y be d r o p p e d . T h i s bow should be rather elaborately p e r f o r m e d , accompanied b y the l o w e r i n g of a n y article, such as a flag, w h i c h m a y be in the hands at the

t i m e ; or, if the hands be empty, the l o w e r i n g of the hands alone, p a l m s t u r n e d s l i g h t l y outward.

I t is i m p o r t a n t t h a t this bow be made quite

slotcly and the r e t u r n to the u p r i g h t position w i t h o u t haste, so that audience

may realize

that the conclusion

has been reached.

slow enough to g r a n t o p p o r t u n i t y f o r applause.

the

I t should be

T h e bow i n response to a

c u r t a i n call, on the other hand, should be short and animated,

and

repeated two or three times, b u t must not be overdone or the effect will be entirely lost. A v o i d m a k i n g a c u r t a i n address whenever possible, but if y o u do speak " b e f o r e the c u r t a i n , " do so f r o m the center

of the stage, a n d not

f r o m the side, as so m a n y are inclined to do. T h i s last gives the appearance of being r e a d y to " d u c k . "

On the large stage, of course, it is i m p r a c t i c a l

to bow off f r o m the centre, so it is better to w a l k to the side and then t u r n and bow off. GESTURE I n order to keep the gestures easy and g r a c e f u l , make them slowly, a v o i d i n g j e r k y movements.

Do not shoot the hands out i n a n y direction,

but start the movement at the shoulders, the wrist, and open the fingers last. the gesture.

and then bend the elbow, n e x t

L e t the eyes t r a v e l i n the direction of

D o not t u r n the p a l m u p nor extend the a r m to the f u l l e s t

extent at a n y time.

( T h i s does not a p p l y to manipulations, w h e r e i t m a y

be necessary to do so.)

Remember t h a t y o n are not a political speaker. MANNERISM

A subject f o r early consideration b y the magical student is the mannerism or style of personality w h i c h he desires to affect while p e r f o r m i n g . A s the matters treated i n this volume must be l a r g e l y r e g u l a t e d b y this, the student should first endeavor to discover not what style of

mannerism

appeals to him most, but what style he is best adapted for naturally.

The

p r i n c i p a l p e r f o r m i n g personalities are the Mysterious and the B r i l l i a n t . THE MYSTERIOUS T h i s s t y l e should only be adopted b y a man of sufficient physical proportions to assume the p a r t with a d v a n t a g e .

dignity, a voice of sufficient depth and strength, a n d perfect tion.

and

pronuncia-

H i s c a r r i a g e must be erect a n d d i g n i f i e d ; his step measured and his

gestures commanding. from

stature

H e must possess

the moment

H e must secure p e r f e c t command of his audience

of entrance,

and his m a n n e r of entrance should be

designed to assist in g a i n i n g that result.

Such a p e r f o r m e r must be a

man who possesses calm, who is quick to think, who is seldom h u r r i e d , and is not easily disconcerted.

I f the student desires to attempt this style he is

recommended to p a y the closest attention to the subjects of Gesture Entrance

p r i n c i p a l l y , but also Voicc

Pitch

f a c t , every p r i n c i p l e of dramatic a r t and elocution. one of the hardest

and most exacting

and

a n d P r o n u n c i a t i o n ; and, in H e has before h i m

t y p e s to present successfully.

I do

not know w h o m to advise him to see in order to get an idea of this style of p e r f o r m a n c e , as there are f e w p e r f o r m e r s of the present d a y w h o assume the style.

I m i g h t suggest the p e r f o r m a n c e of H e r b e r t Brooks, which,

however, is h a r d l y long enough to illustrate the t y p e ; or, possibly, m y own presentation of the act, " M y s t e r y A r t , " f r o m w h i c h the student m i g h t glean a f e w suggestions. DRESS—The style of dress f o r this act should be dignified i n e v e r y detail, tho cut of the clothes inclined to long lines.

Avoid

extreme

cuts or

faddishness. EFFECTS should be of a l a r g e order and capable of presentation w i t h little

lathing.

S l e i g h t of hand work, if a n y xised, should be v e r y limited,

and employed w i t h large articles

only. O f course, the various invisible

sleights, such as the " P a s s " and the occasional p a l m i n g of articles b e f o r e production, is necessary in a n y case, but by sleight of hand is meant the deliberate

manipulation of articles before the audience.

A s this tends to

cause the audience to r e g a r d the p e r f o r m e r as " c l e v e r , " it is f a t a l to d i g n i t y or real m y s t e r y . FEATS w h i c h might be a t t r i b u t e d to spiritualism, hypnotism or other pretended scientific means are most effective in this f o r m of act. SETTINGS should be inclined t o w a r d richness i n colors, instead of brilliance. ings.

Deep-toned

colors should be employed in the m a t t e r of drap-

A p p a r a t u s and stands, etc., should be either massive, or i f of l i g h t

w e i g h t , should be of the skeleton order, p l a i n l y intended to eliminate suspicion, and should be of artistic drapings, and nothing avoid tinsel upon the

or spangly

flimsy

design.

Nothing

flashy

in the n a t u r e of

in a p p a r a t u s should be used.

A b o v e all,

d r a p i n g s , a n d do not have too much

apparatus

stage. THE BRILLIANT

This t y p e requires a man of moderate or small stature, not overinclined t o w a r d stoutness, but p r e f e r a b l y a man of slim build.

H e should

be an active man, capable of quick movement and speech, which, however, should never be so rapid that his audience every feature

of the performance.

cannot at all times see and hear

H e should possess e n e r g y a n d

wit of the sharp and keen order (not dry or droll). a good deal d u r i n g the p e r f o r m a n c e , slightly tures and facial a n d should

expression.

be interjected

Stirring whenever

employ

l i e shoxdd move

exaggerating

about

both his ges-

music should be used f o r e n t r a n c e the performer

is less active,

such as

•when p r e p a r i n g a t r i c k , or w l i e n p e r f o r m i n g a t r i c k without

talking

M u s i c s h o u l d be p l a y e d a t these times i n o r d e r to keep u p the e x e i t e m e n of t h e a u d i e n c e ,

f o r in a n act of t h i s n a t u r e t h e a u d i e n c e is w o r k e d u j

to a state of c o n s t a n t s u r p r i s e , l a u g h t e r a n d e x p e c t a t i o n , a n d a s u d d e i d r o p in t h e a c t i o n has a most p e c u l i a r d e p r e s s i n g effect u p o n t h e a u d i e n c e I t w i l l be n o t i c e d t h a t i n a n y p l a y or a c t w h e r e t h e r e is m u c h e x c i t e m e n t as soon as the e x c i t e m e n t is o v e r t h e r e is a s u d d e n t h r o u g h o u t the a u d i e n c e .

depression

I f e e l t h a t I c a n n o t b r i n g t h i s f a c t too

fell

strongly

to the a t t e n t i o n of t h e s t u d e n t w h o e x p e c t s to a t t e m p t this s t y l e of performance.

I have always found it advisable in composing dramatic plays

or sketches, w h e n e v e r t h e r e is a tense m o m e n t of e i t h e r a p a t h e t i c , t r a g i c or s t r o n g l y d r a m a t i c n a t u r e , to follow

the moment.

Avitli a h u m o r o u s

o r h u m a n l y - q u a i n t r e m a r k b y one of the c h a r a c t e r s , w h i c h causes a l a u g h a n d relieves

the strain

mental equilibrium.

on the audience,

e n a b l i n g t h e m to g e t b a c k t h e i r

T h e reason f o r t h i s is t h a t t h e l a u g h c o u n t e r a c t s t h e

e f f e c t of t h e s u d d e n depression w h i c h is always ment. present,

nevertheless,

to follow

excite-

film

but

a n d flic s u d d e n cessation of r a p i d a c t i o n i n o r d e r

to p r e p a r e f o r a n e w t r i c k ]tas much picture

certain

I n a m a g i c a l e n t e r t a i n m e n t t h i s state of a f f a i r s is less m a r k e d ,

at an exciting

moment

the same effcct in order

as stopping

to change

'the

a

motion

reel.

T h e p e r f o r m e r a t t e m p t i n g t h i s s t y l e w i l l be b e t t e r e q u i p p e d f o r h i s w o r k if he possess some d r a m a t i c a b i l i t y a n d c a n e m p l o y f a c i a l e x p r e s s i o n in o r d e r to increase the interest of his a u d i e n c e .

B y r e f e r r i n g to t h e

s u b j e c t of " F a c i a l E x p r e s s i o n , " some e x a m p l e s of the w r i t e r ' s m e a n i n g c a n be g a i n e d . DRESS—Such p e r f o r m e r s sometimes w e a r a r i b b o n across the s h i r t bosom, w h i c h , h o w e v e r , is a n a n t i q u a t e d f a d , p l a i n l y in i m i t a t i o n of the old-time m a g i c i a n s .

I f t h e p e r f o r m e r desires to a f f e c t s o m e t h i n g of t h i s

sort, I s u g g e s t t h e f o l l o w i n g n o v e l t y , w h i c h I d e s i g n e d f o r t h e p u r p o s e : A w i d e b a n d of g o l d r i b b o n a r o u n d the a r m m i d w a y b e t w e e n elbow a n d s h o u l d e r , on w h i c h is e m b r o i d e r e d or s e w n t h e d e s i g n s of the f o u r c a r d pips, Clubs,

Hearts,

Diamonds

a n d Spades,

at equal distances

apart.

A n o t h e r e f f e c t i v e c o m b i n a t i o n is w i t h w h i t e s a t i n r i b b o n i n p l a c e of t h e gold.

F r o m t h e l o w e r e d g e on t h e o u t e r side of t b e a r m m a y be sus-

p e n d e d a p e n d a n t in the f o r m of a question SETTINGS s h o u l d be of a colorful v e r y strongest

mark

(?).

a n d f l a s h y , or s h o w y n a t u r e .

The

l i g h t s s h o u l d be u s e d a l l o v e r the s t a g e to set off the

p r o p e r t i e s to a d v a n t a g e a n d g i v e a n effect of d a z z l i n g b r i l l i a n c e . s h o u l d be of a stirring

Music

n a t u r e a n d s h o u l d be u s e d a t e n t r a n c e a n d w h e n -

e v e r p e r f o r m e r is p e r f o r m i n g s i l e n t l y or m a k i n g p r e p a r a t i o n s f o r a s p e c i a l trick.

TRICKS should be a l i v e l y n a t u r e interspersed w i t h humor. w i t h silks, ribbons, flowers, handkerchiefs,

Tricks

animals, or borrowed articles, such as

watches,

rings a n d dollar bills, and a certain amount of sleight of

h a n d , such as b i l l i a r d ball manipulation and the handkerchief-ball manipulation, or p a p e r effects, all of w h i c h are effective. ENTRANCE MYSTERIOUS S o f t music of a d r e a m y or semi-mysterious n a t u r e should be p l a y e d b e f o r e the c u r t a i n rises and should take on a s l i g h t l y increased beat as the c u r t a i n starts to ascend. O n the other hand a good effect may be gained by the opposite means, i. c., decreasing the volume of the music as the c u r t a i n rises u n t i l it gradu a l l y f a d e s a w a y into silence as the curtain reaches its highest point. L i g h t should not be used in f u l l brilliance.

L i g h t s m a y be lowered

s l i g h t l y before the c u r t a i n rises and then slightly increased as c u r t a i n readies full up.

A w a i t of f r o m three to five seconds

at the very

most

is enough to give the best effect and is advisable in this f o r m of act. T h e best entrance is made f r o m the back.

F o r m y own work, I

employ triple c u r t a i n s at the back, w h i c h are parted one a f t e r the other, but, as this is too elaborate f o r general use a single curtain parted at the back w i t h medium effect.

r a p i d i t y , exposing the p e r f o r m e r , will give a good

I f p e r f o r m i n g in l y c e u m where curtains cannot be d r a w n back

mechanically the p e r f o r m e r m a y take a position behind the curtain, take hold of each side of the opening at about waist height,

then s t e p p i n g for-

w a r d a n d out, he m a y s w i n g the c u r t a i n open and around behind him, l e a v i n g his h a n d s i n the final position, w h i c h will give m u c h the same effect as the f o r e g o i n g .

T h e attitude, w h i c h is important in this act,

should be w i t h b o d y erect, shoulders squared (not overdone), the feet even and close together and the head tilted back so that the eyes are level w i t h the balcony.

[Looking d o w n w a r d gives one a h a n g d o g appearance,

w h e r e a s the o b j e c t is to achieve a commanding

appearance—looking

s t r a i g h t f o r w a r d causes those in the balcony and above to see only the top of y o u r head.]

L o o k i n g u p w a r d enables those above to see y o u r

f u l l f a c e and those in orchestra to see y o u r f a c e at the most f a v o r a b l e angle, f r o m below. I n either case, a pause of from one to two seconds, attitude

is advisable.

holding

T h e n the p e r f o r m e r m a y come slowly

the same forward

e m p l o y i n g a measured tread inclined toward a modification of the " R o l l " (described u n d e r C a r r i a g e ) . approach

to foot

lights,

Reaching

f r o n t center, avoid

w h i c h shadow and distort the face.

too A

closc slight

pause, followed b y a bow, w h i c h i n this case should he a slow inclination

of the head only, or w i t h possibly the slightest as well.

T h i s bow should not he accompanied

inclination of the shoulde by a smile, as this belon]

to a more s p r i g h t l y mannerism. THE ADDRESS should be b e g u n i n measured tones a n d unhurried.

D o not emphasize y o u r r e m a r k s b y n o d d i n g the

continue head-

f a u l t w h i c h I f r e q u e n t l y h a v e to combat in p u p i l s a t t e m p t i n g this s t y of work. GESTURES should only be employed w h e n i t is desired to indicate certain piece of a p p a r a t u s at the side of stage, or to direct attention i some p a r t i c u l a r direction. Hon, then gesture with finger.

I n this case first turn the head in the

the open

hand

only,

dirci

never p o i n t i n g w i t h th

S t a r t the gesture by b r i n g i n g the h a n d u p w a r d in f r o n t of y o i

about level w i t h the waist, and then, s w e e p i n g out t o w a r d the l e f t o r i g h t as the case m a y be, starting

the movement

at the shoulder,

the:

b e n d i n g the elbow, and the last, the wrist.

S t a r t all movements b;

m o v i n g the upper arm first, then the f o r e a r m .

A l l movements should b

in curves,

a n d angles avoided.

s t r a i g h t f r o m the shoulder or side.

D o not shoot the h a n d or a r m

ou

I n p e r f o r m i n g in this m a n n e r avoi<

all elaborate movements a n d do not b o w t o w a r d the object indicate! b y the gesture as in the B r i l l i a n t .

RAPID ENTRANCE ( S u i t a b l e f o r the B r i l l i a n t t y p e of p e r f o r m a n c e . ) T h i s s t y l e of entrance is best started at the side t o w a r d the back, e m p l o y i n g short steps, the p e r f o r m e r coming f o r w a r d r a p i d l y t o w a r d the center, describing a n arc, t e r m i n a t i n g in a central position in the f r o n t , near the footlights. F o r this s t y l e of entrance, music m a y be employed as f o l l o w s : No. 1.

S t i r r i n g music p l a y e d at a r a p i d beat before or while c u r t a i n

rises, c o n t i n u i n g f o r a moment a f t e r , and e n d i n g w i t h a crash of cymbals j u s t as the p e r f o r m e r effects his first appearance. No. 2.

Music started j u s t before p e r f o r m e r makes his entrance.

C o n t i n u i n g i n r a p i d measure as he comes f o r w a r d and ending w i t h a crash of c y m b a l s as ho reaches the footlights. T h e bow i n this case should be short a n d quick, p r a c t i c a l l y expressing a g r e e t i n g and n o t h i n g more, a n d m a y be accompanied b y a smile. A d d r e s s should be started immediately a f t e r the bow.

Remarks,

while spoken r a p i d l y , should be all means be clear and distinct, rather inclined t o w a r d sharpness.

T h e p e r f o r m e r should then

immediately

t u r n a n d present the opening t r i c k w h i c h should be of a spectacular nature, flashy a n d quick in effect, a n d must not be a trick w h i c h requires p r e p a r a t i o n before

the audience.

E f f e c t i v e tricks of this sort are those

e m p l o y i n g silks, flags, fire or doves. o v e r , " the audience

having

A f t e r this effect has been " g o t t e n

been surprised

by the suddenness

a n d spec-

t a c u l a r n a t u r e of this first effort, are therefore i n a n expectant

mood

a n d h a v i n g made u p their minds not to be deceived a g a i n they will

watch

the performer

closely.

T h e r e f o r e , the p e r f o r m e r may well present either

sleight of h a n d or a t r i c k w h i c h requires a little preparation, either of w h i c h require close attention on the p a r t of the audience to b r i n g out the f u l l effect.

THIRD EDITION

izxpn-t

Hilliarii

fall

iHamyitlafti

2 0 0 Photographic Reproductions. 1OO Tricks with Balls and Silks. Startling Mysteriou Clever

200 Illustrations, 35,000 Words Explaining 100 Tricks and Sleights, Beautifully Printed on Enameled Paper. Lizard Skin Finish Covers. Gold Titles, Silk Bound. 2s.2d. and 4s.3d.

100 Tricks and Sleights, Pretty Color Changes, Baffling Transforn ion, Startling Vanishes, Puzzling Productions. Fully Explained i some illustrated, with as many as fourteen photographs each. The First and Only Expose of the W h o l e Art of Bi

ard Ball Manipulation. Contains more Absoluti New Tricks and Sleights Than Any Other Book Sleight Of Hand Ever Published.

Cost of illustrating this Volume Alone (Photographs, Art Work & gravings) Would Publish Several Thousand Copies of Any 0| "Dollar" Volume That Has Appeared In The Past Year. Beautifully Printed on the Finest Quality Enameled Pap

Only the Finest Half Tone Illustrations Used. Lizard S! Finish, Art Covers, Gold Title. Silk Cord Bound.

Price $ 1 .OO Part One Separately SO cents; Part Two 50

^cakfc

UlijstmpB

The latest card tricks and spirit mysteries (first time e plained) with instructions for constructing all the trick cards special packs, etc. The very cream of the latest tricks and new inventions gatl ed together and carefully prepared by the author, who has proved the working of each and added something of hisown oq ality, making it the most valuable collection of absolutely i tricks with cards, etc. ever placed between two covers. Highly Finished "Glace" covers, in Gold, black and red, handsomely bound. Many Illustrations in Halftone and Line.

These tricks do not require sleight of hand. CONTAINING

Tho Famous Sealed Letter Tests; The Fly Card; The Card ' ing Tray; The Devil's Pass & Improvements; The Goblin A Monte Cristo Cards; Photo Sprite; Houdins Dream; Cards Ii terious & Improvements; Satan's Secret; Novel Card Discov Electra Trance Card; and Others. SPECIAL

OFFER

This volume was originally printed on 100-lb. Enameled Art Paper and sold at One Doll The book has been reprinted on a light weight paper of good grade and contains exactly i same contents. Printed from Electrotypes: Now sold at Reduced Price Fifty Cents England 2s.2d.

MAGICAL SHOWMANSHIP Practical Methods of Controlling and Influencing Audiences and Securing Applause including Music for Magical Acts Opening Addresses Stage Fright—Its Cure Opening Tricks Overcoming Stage Nervousness Creating Applause Curtain Handling Concluding Act Encores Affecting Climax "Bringing Spectator Upon the Stage and

A List of Hits for Special Occasions Hanqutts,

Conventions,

tainments,

Club and Lodge

Church,

Children's

Society

Programs

COPYRIGHT,

AMERICAN MAGIC

1914

CORPORATION

PUBLISHERS

LONG BEACH BUILDING

'Enter-

and

NEW YORK CITY

Contents of Tart One

ff Dramatic A rt and

'Elocution

UNIFORM WITH THIS VOLUME MANNER

OP

EFFECTIVE

ENTRANCE:

Rapid

entrance—mysterioi

e n t r a n c e — w h e r e made f r o m and h o w — s u i t i n g entrance to style of pe f o r m a n c e — l o c a t i o n of settings in relation to entrance. CORRECT CARRIAGE: HOW a c h i e v e d — l e n g t h of step in relation s t y l e of p e r f o r m a n c e — q u i c k method of setting oneself f o r p e r f e c t ca r i a g e b e f o r e entrance. POSITION : W h i l e m a n i p u l a t i n g — p o s i t i o n for feet i n t u r n i n g — co rect position in t u r n i n g f o r c h a n g e over p a l m — t i p s f o r w a l k i n g awa f r o m a u d i e n c e — f o r w a l k i n g across stage. TIIE BOW: E n t r a n c e b o w — h o w m a d e — b o w a t conclusion of in portant t r i c k — b o w a t conclusion of a c t — b o w a t c u r t a i n call. GESTURES :

F o r m s of g e s t u r e s — t o indicate article or person.

MANNERISMS : P e r f o r m i n g in mysterious m a n n e r — t h e brilliar t y p e of p e r f o r m a n c e — t y p e s of i n d i v i d u a l s a d a p t e d f o r v a r i o u s s t y l e s how the reader c a n decide w h i c h he is best suited for. EMPLOYING FACIAL EXPRESSION: Illusion of s t a g e w h i c h make o r d i n a r y smile a p p e a r a g r i n — c o r r e c t stage smile and how it is employe as a principle of s u g g e s t i o n — d r a m a t i c e x p r e s s i o n — e x a m p l e s of h o w t employ affected s u r p r i s e — b e w i l d e r m e n t , d i s a p p o i n t m e n t — h e a r t y amuse ment, e t c . — t o increase the effectiveness of the tricks. ADVICE ON DRESS: Relation to different styles of performance— w h e n not to w e a r evening d r e s s — a n o v e l t y in magical costume. ELOCUTIONARY PRINCIPLES: M a k i n g the voice c a r r y — s e c r e t o: voice p o w e r — p r o p e r b r e a t h i n g f o r g r e a t e r v o l u m e — p r o p e r p i t c h foi voice in public s p e a k i n g — s e c u r i n g depth. PRONUNCIATION: Position f o r t o n g u e a n d lips f o r clearer and s h a r p e r p r o n u n c i a t i o n — w h a t to a v o i d — l i p s a i d i n g audience to disting u i s h w o r d s — s y l l a b i c p r o n u n c i a t i o n — i t s p r i n c i p l e s a n d reasons. OPENING ADDRESS: W h e n a n d w h e r e a p p r o p r i a t e — w h a t i t should consist o f — f o u r t y p e s of o p e n i n g a d d r e s s — s u g g e s t i o n s — d e t a i l e d examples of i n c o r r e c t a d d r e s s — d e t a i l e d e x a m p l e s of c o r r e c t s p a c i n g and delivery.

PUBLISHER'S FOREWORD I t w a s in 1908 t h a t B u r l i n g H u l l p l a n n e d the first g r a d u a t e d course of instruction in magical p e r f o r m i n g , i n c l u d i n g manipulation, magical m e c h a n i c s , elocution, d r a m a t i c art, a n d s h o w m a n s h i p , to he p r o d u c e d . F r o m this he became k n o w n as the only magical instructor i n A m e r i c a , a t i t l e w h i c h he h a s since a d o p t e d in the p r o s p e c t u s of the f o u r courses g i v e n b y the B u r l i n g H u l l S t u d i o . I n p e r m i t t i n g its use, M r . H u l l m a d e it p a r t i c u l a r l y u n d e r s t o o d t h a t the title w a s n o t i n t e n d e d to in a n y w a y r e f l e c t u p o n the c h a r a c t e r or w o r k of a n y one w h o desired to t e a c h a f e w pupils privately. I t is t r u e t h a t m o s t a n y a m a t e u r m a g i c i a n , a n d even some of the small dealers, w i l l occasionally u n d e r t a k e to teach a f e w tricks to a beginner w h e n the o p p o r t u n i t y presents. I n m u c h tho same m a n n e r most a n y one connected w i t h m a g i c w i l l occasionally sell a m a g i c a l a p p l i a n c e to a b e g i n n e r , or m a y entertain a p a r t y of f r i e n d s w i t h t r i c k s . B u t selling a f e w tricks does not make a man a d e a l e r ; p e r f o r m i n g b e f o r e f r i e n d s or his club members a f e w times a y e a r does not m a k e a man equally a professional a r t i s t ; and most emphatically, showing a b e g i n n e r how to w o r k a f e w tricks once or twice a y e a r docs not constitute e v e n a d e a l e r ; a p e r f o r m e r , or a m a g i c a l d e a l e r ; an i n s t r u c t o r . I t is g e n e r a l l y k n o w n to m a g i c i a n s t h a t B u r l i n g H u l l is t h e o n l y m a g i c i a n w h o m a k e s a complete w o r k of m a g i c a l instruction c o n d u c t e d on a s y s t e m a t i c basis. T h e i n s t r u c t i o n consists of f o u r s t a n d a r d courses, t r e a t i n g on f i f t e e n r e g u l a r s u b j e c t s , w h i c h are listed a n d d e s c r i b e d in d e t a i l in t h e o n l y p r i n t e d p r o s p e c t u s of its sort. I t is also t r u e t h a t he is the o n l y A m e r i c a n w i t h s p e c i a l equipment f o r this w o r k , a n d a set of 130 c h a r t s of h a n d s ( f r o m both p u p i l s a n d p r o m i n e n t m a g i c i a n s ) of w h i c h he k e e p s n o t e s a n d records, and employs in det e r m i n i n g w h i c h class of w o r k a s t u d e n t is best a d a p t e d f o r b e f o r e entering upon the w o r k . B e f o r e e n t e r i n g u p o n this w o r k Mr. H u l l devoted considerable s t u d y to the s u b j e c t of i n s t r u c t i n g in magic, to w h i c h he has added eight y e a r s of p r a c t i c a l experience i n the w o r k . L o c a t e d i n t h e l a r g e s t c i t y of this c o u n t r y a n d i n c i d e n t a l l y tho theatrical center of A m e r i c a , his w o r k is not confined to N e w Y o r k , but twice y e a r l y tours are made t h r o u g h Chicago, Boston, Philadelphia, Baltimore, Detroit, P i t t s b u r g h , B u f f a l o , A l b a n y and intermediate points in order to i n s t r u c t p u p i l s w h o h a v e a r r a n g e d f o r instruction beforehand. N o w t h a t he has decided to offer t h r o u g h publication within magical circles some of the results of his s t u d y and experience i n the w o r k

i n the f o r m of condensed treatise on the subject, his w r i t i n g s will prob b l y find appreciation w i t h m a n y magical students unable to secu: personal instruction. N u m b e r s of the series to follow the present volume a r e : BUSINESS END OF MAGIC or MAKING MAGIC PAY. M A G I C FOR P R O F E S S I O N A L P U R P O S E S :

O n the stage—the

Lyceum-

the society and club field—the semi-professional field. PREPARATION OF ADVERTISING : S a m p l e h e r a l d announcementspress sheets f o r different styles of w o r k — s e c u r i n g t r y o u t s — s y s t e m s c booking—securing contracts—arranging expenses—packing, shippin and t r a n s f e r r i n g p r o p e r t i e s — b i l l i n g the a c t — s e c u r i n g press notices an free a d v e r t i s i n g — s p e c i f y i n g the c u r t a i n s and scenes required f o r Magics A c t s — e v e r y d e t a i l of t h e a t r i c a l business. MANIPULATIVE

ART

T h e first p r a c t i c a l a n a l y s i s of s l e i g h t of h a n d , e x p l a i n i n g in detai the e x a c t o p e r a t i o n s o f s u b t l e t y i n a n y f o r m of m a n i p u l a t i o n — i l l u s t r a t e d w i t h 136 p h o t o g r a p h s s h o w i n g the positions a n d movement; f o r t h e h a n d s a n d a r m s ; h o w to a c h i e v e g r a c e in m a n u a l movement w h i l e m a n i p u l a t i n g , a n d also s h o w i n g w r o n g a n d a w k a r d p o s i t i o n s methods of misdirection—cover w o r k — m o t i o n illusion—concentration MAGICAL MECHANICS OF STAGE ILLUSIA M a g i c a l m e c h a n i c s — t h e m e c h a n i c a l p r i n c i p l e s on w h i c h m a g i e a a p p a r a t u s and stage illusions and scenic effects are o p e r a t e d — p r i n c i p b of d e l u s i o n — c o n t r o l l i n g imagination. ILLUSION: T h e use of b a c k g r o u n d , use of d e c e p t i v e a n g l e s anc l a p s — p r i n c i p l e of color i l l u s i o n — a n d i t s a p p l i c a t i o n t o m i s d i r e c t i o n illusion of t i m e — i l l u s i o n of d u p l i c a t i o n — o f p e r s p e c t i v e — a r r a n g e m e n t of lights, etc. R O A D C R A F T OR C O N D U C T I N G A N A C T E N TOUR S t a g e c r a f t — m a k i n g l a y o u t f o r a p p a r a t u s — f i n d i n g a n g l e s to avoid exposure to boxes a n d g a l l e r y — g r o u p i n g a p p a r a t u s a r t i s t i c a l l y — h a n g i n g of c u r t a i n s a n d p r o p e r t i e s — w o r k i n g " i n o n e " a n d " f u l l s t a g e " handling l i g h t s — e f f e c t of lights on c o l o r s — a r r a n g i n g m u s i c — r e h e a r s i n g act.

THE PUBLISHER.

Magical Showmanship STAGE-FRIGHT VS. S T A G E N E R V O U S N E S S I n the matter of stage-fright, like m a n y became f a m i l i a r w i t h entertaining at too tender the f e a r of l a r g e audiences meant, I have never tion; b u t h a v i n g witnessed its ravages on m a n y [ can suggest a means of a v o i d i n g it.

other p e r f o r m e r s who an age to realize w h a t experienced the sensaof my pupils, I think

I n the m a t t e r of stage nervousness, however, a difficulty to which 3vcn the most seasoned p e r f o r m e r s are subject, I can speak f r o m experience. T h e r e a r c so m a n y t h i n g s that can go w r o n g w i t h a magical l e t ; an accident causcd b y stage h a n d s who do not understand the requirements of magical w o r k , so common t h a t t h e p e r f o r m e r frequently reaches a h i g h l y nervous state j u s t before doing upon the stage. StageFright, on tbe other hand, docs not attack the p e r f o r m e r until he is i c t u a l l y u p o n the stage and about to speak, whereupon his mind suddenly :>ecomes a blank, ho loses tbe power of speech and seems unable to move from the spot. T h e r e is little doubt that it is r e a l l y a state of autolij'pnosis, causcd b y the s t r o n g lights and the p e c u l i a r appearance of the ludiencc, of which only a row of faces against a black background can jo seen, M y a d v i c e to p u p i l s in cases w h e r e I think stage f r i g h t likely :o occur is as f o l l o w s : "Go out upon the stage and fix your eyes upon some one near the make y o u r address to this person a n d in f a c t give your entire performance to this individual as if there ivere no one else in the theatre, i n d m a n a g e to f o r g e t t h a t there is a n y one else p r e s e n t . " P u p i l s who l a v e been s u b j e c t to s t a g e - f r i g h t r e p o r t t h a t b y following this p l a n they lave been able to relieve themselves of all susceptibility to the condition. rront;

S t a g e nervousness, w h i c h attacks the p e r f o r m e r before going upon he s t a g e g e n e r a l l y leaves the experienced p e r f o r m e r shortly a f t e r his vppearancc before the audience, or f o l l o w i n g the first applause. "While ess d a n g e r o u s to the success of the act, is still quite likely to i n t e r f e r e seriously w i t h the p e r f o r m e r ' s work. I have seen experienced performers, who, w h e n t h e y f e l t this condition coming upon them, would, )y an effort of the will, throw off all thoughts of their act for a few minutes and j o k e w i t h a n y b o d y who happened to be near, s k i p p i n g ibout a n d c u t t i n g u p like a school-boy. W h e n the moment arrived For their a p p e a r a n c e on the stage t h e y would stroll over to the w i n g s ,vith e x a g g e r a t e d disregard f o r time, meanwhile h u m m i n g a t u n e — t h e n suddenly s t r a i g h t e n u p and make their appearance before the audience in the usual manner, before t h e y again had time to w o r r y about the result of the entertainment.

Foolish as this sort of t h i n g m a y a p p e a r to the l a y m a n , i t generall succeeds in r e l i e v i n g the nervous strain, w h i c h w o u l d otherwise cause th f a i l u r e of the entire act. F o r m y own p a r t , I avoid attacks of stage nervousness by absolutel refusing to be hurried in setting m y act. Serious as a w a i t m a y be, it i f o r g o t t e n a n d f o r g i v e n b y the m a n a g e m e n t i n time if the p e r f o r m e r i one who, w h e n he goes out, a l w a y s " m a k e s good w i t h his audience " but an act that falls down is remembered f o r e v e r ; it is something tha sticks in the a g e n t ' s and m a n a g e r ' s m e m o r y f o r life. MYSTERIOUS

MUSIC

I n response to m a n y r e q u e s t s f r o m r e a d e r s to s u g g e s t suitable music f o r m a g i c a l p e r f o r m a n c e s , I o f f e r the f o l l o w i n g : " T h e M a g i c i a n s ' M a r c h , " p u b l i s h e d b y M. M. W h i t m a r k a n d Sons, New Y o r k City. S e l e c t i o n s f r o m " B a r o n T r e n c k , " p u b l i s h e d by R e m i c k (Composer, F e l i x A l b i n i ) . M y s t i c , " S o u s l a F e u l l e e . " "The D r e a m of the R a r e b i t F i e n d . " " O n c c upon a T i m e . " "Wild Cherries." (Remick). T h e s t u d e n t w i l l do w e l l to p u r c h a s e a c o p y of W h i t m a r k ' s I n c i d e n t a l Music, w h i c h contains selections of music suitable f o r most a n y purpose desired. T h e p r i c e of a c o p y , I t h i n k , is $1.00, b u t the r e a d e r is a d v i s e d to c o m m u n i c a t e w i t h M. W h i t m a r k a n d Sons, of W e s t 37th S t r e e t , N e w Y o r k C i t y , b e f o r e o r d e r i n g . T h e publishers of some of the above pieces h a v e passed m y memory, b u t C a r l F i s c h e r of N e w Y o r k C i t y c a n s u p p l y most a n y of the pieces, f o r the c o r r e s p o n d e n t o r can i n f o r m h i m w h e r e t h e y c a n be o b t a i n e d F o r a p p l i c a t i o n of a b o v e music see " E n t r a n c e " a n d " M a n n e r i s m s " " T h e B r i l l i a n t " and " T h e Mysterious." OPENING TRICK T h e success or f a i l u r e of an act sometimes depends l a r g e l y u p o n the opening trick. A strong opening t r i c k makes the p e r f o r m e r ' s w o r k one h u n d r e d per cent, easier, f o r his audience is w o n f r o m the start. A merely "good" t r i c k will not do at all f o r the opening trick. It; must be something spectacular, r e q u i r i n g no p r e p a r a t i o n before the audience, must be quickly over w i t h a n d in the nature of a surprise. I t should be a t r i c k w h i c h c a n be a p p r e c i a t e d entirely without any thought or close attention on the part of the audience. E X A M P L E S OF OPENING TRICKS P r o d u c t i o n of ribbons, handkerchiefs, flowers, or a n y other colorful j articles. i T h r e e silks, Red, W h i t e and B l u e , changed to a l a r g e f l a g ; flag t h r o w n over a r m a n d bowl of fire p r o d u c e d therefrom. C o v e r placed over fire-bowl to extinguish flames a n d on removing, bowl is f o u n d to be filled w i t h flowers.

T r i c k s of the f o r e g o i n g nature start the p e r f o r m a n c e w i t h a bang, nabling the p e r f o r m e r (to use a p o p u l a r p h r a s e ) , to " g e t the j u m p " of lis audience. I cannot impress upon the student too strongly the importance of using a strong opening trick, f o r the time of a vaudeville act s so short t h a t he has no time to w o r k his audience u p g r a d u a l l y to an ippreciation of his work. H e must produce a good impression, present i good entertainment, and secure l a u g h t e r and applause several times and hen effect his final climax, all within a space of from twelve, to eighteen ninutcs before the footlights. T h e importance of a strong opening trick applies in j u s t the same legree to the L y c e u m p e r f o r m e r . Tho L y c e u m audience is one w h i c h s h a r d to w i n attention f r o m at the beginning of the performance. The spectators are more or less acquainted with each other and will be f o u n d :onversing f r e e l y before and while the curtain rises. A t the same time, i considerable percentage of the audience arrives late and crcates a disurbance, w h i c h d r a w s the attention of the spectators f r o m the stage. Hie usual opening trick is hardly strong enough f o r this sort of audience. D u r i n g m y first season before audiences of tliis sort, a f t e r being used :o the more o r d e r l y stage audiences, I could not become used to h a v i n g ;he attention of only part of m y audience at the opening of my entertainment, a f e a t u r e w h i c h most L y c e u m entertainers are forced to put, u p with. S t u d y i n g the situation over, I finally decided that if spectacular magic w o u l d n o t d r a w concerted attention at the beginning, sound would. I t h e r e f o r e designed the f o l l o w i n g : A s the c u r t a i n started to rise the loud r i n g i n g of an alarm clock w a s to be heard. I came f o r w a r d to make my address, but as t h e r i n g i n g continued, I a p p e a r e d annoyed, then looked about, finally s p y i n g the 3ause of the trouble, an a l a r m clock s t a n d i n g on a small stand at the side of the stage. T h i s I covered w i t h a large handkerchief and, p l a c i n g it, still r i n g i n g , u p o n a t r a y held by m y assistant, I took aim at the clock with a pistol and fired, w h e r e u p o n the cloth collapsed and the r i n g i n g there ceased, b u t i m m e d i a t e l y began at the other side of the stage. Glancing in t h a t direction the clock w a s seen to have returned to the stand, r i n g i n g as l o u d l y as ever. [ E x p l a n a t i o n of the trick below.] This feature, the unusual ringing of an alarm clock, never failed to create curiosity, w h i c h immediately b r o u g h t all eyes upon the stage, and held them there f r o m the first. T h e r e f o r e , I should say t h a t i f it is convenient to do so the p e r f o r m e r will do well to use a t r i c k w h i c h is not only spectacular, but noisy, f o r his opening b e f o r e a n audience of this sort. I n case m y readers m a y wish to know the secret of m y clock trick, I give the explanation here. EXPLANATION—The bell-ringing a p p a r a t u s is really within the tray, w h i c h at first lies u p o n the table or stand w i t h the original clock, which is a hollow d u m m y , and f r o m w h i c h the sound appears to come. A bellows clock-form, w h i c h w i l l fold into the top of the t r a y is raised

t h e r e f r o m b y the assistant, who moves a lever at the bottom of the tr as I apparently place the clock on the t r a y a n d cover it w i t h a cloth. T cloth f a l l s over the bellows f o r m , while the dummy clock, b y means a hook on its edge is h u n g on the assistant's back. A s I fire the revolv* the assistant removes the finger f r o m the lever u n d e r the t r a y , whereupi the f o r m collapses a n d the assistant places his finger against the b< r i n g i n g apparatus, causing i t to stop i n s t a n t l y . T h e second clock tel scopes to one-half its n a t u r a l thickness a n d the bell at the top liing backwards. I n this condition the whole t h i n g folds d o w n flat on to tl table top, in w h i c h a t r a p is cut to fit it a n d is hinged to the table with spring hinge, w h i c h causes it to fly to an u p r i g h t position w h e n release f r o m a c a t c h in the table. T h e second b e l l - r i n g i n g a p p a r a t u s is in thi telescopic clock, b u t the c l a p p e r cannot move u n t i l the bell is t u r n e to a horizontal position by the expansion of the telescopic halves of th clock, which are forced a p a r t b y three s p r i n g s f r o m the inside.

SECURING APPLAUSE T h e a r t of i n d u c i n g the audience to a p p l a u d at points where it woulc not otherwise do so, even t h o u g h well pleased w i t h the f e a t u r e in hand, is a n a r t w h i c h makes f o r success i n magical entertainments. I t is one ol the most i m p o r t a n t acquirements t h a t the professional p e r f o r m e r can have, f o r professional success depends l a r g e l y u p o n t h e amount ol applause which a n aet receives. One of the greatest d i s a d v a n t a g e s of a magical act is t h a t i t r a r e l y secures a p p l a u s e f r o m an audience d u r i n g its course, o w i n g to the f a c t that the audience becomes so engrossed i n the mystery and bewilderment of the entertainment that it forgets to a p p l a u d until the act is over. T h e r e f o r e , it is necessary to a r r a n g e the p r o g r a m so that it w i l l not be one continuous, unbroken period of m y s t e r y , b u t a series of bouquets of magic, each consisting of several little t r i c k s w i t h a large f e a t u r e a t the end of each series. E a c h such set of tricks should reach a sort of c l i m a x a t the end, the final trick in each case being either something s u r p r i s i n g l y speotacidar or u n u s u a l l y funny, either of w h i c h has an awakening effect upon the audience and causes i t to a p p l a u d . CREATING APPLAUSE I n order to increase the n u m b e r of tirfies w h i c h the audience a p p l a u d s or to distribute the applause t h r o u g h o u t the act, the p e r f o r m e r m a y resort to f o r c i n g a p p l a u s e . T h i s m a y be accomplished b y d r a m a t i c presentation of the tricks, or b y concluding certain tricks i n a dramatic manner. F o r example, I will consider a method of f o r c i n g applause f r o m a L y c e u m audience. F o r this example I will take a f a m i l i a r trick and show how I w o u l d achieve the desired result w h e n p l a y i n g before a f r a ternal convention or L y c e u m audience (though neither the trick nor the method is exactly suitable f o r stage u s e ) . I n the D y e i n g H a n d k e r chief T r i c k , w h i c h I p e r f o r m w i t h six l a r g e silks measuring 32 inches square (probably the largest ever u s e d ) , I push all the silks into a 14-inch l o n g p a p e r tube. Then, w a l k i n g down a m o n g the spectators, I d r a w out

the silks w h i c h have now changed color, one at a time, h a n d i n g them to spectators as I go along the aisle. A s the last is handed out I stop and u n r o l l the tube ( w i t h a p p r o p r i a t e remarks) then tear the paper in h a l f , not oncc, but again and again, u n t i l the pieces are reduced almost to confetti. W h i l e t e a r i n g the p a p e r into pieces, the audicncc has time to turn the trick over in its mind and get r e a d y to applaud. I then toss these pieces in the air, which shoot out like a miniature snowstorm. This d r a m a t i c gesture icakcs u p the audience, letting it know I have finished, a n d starts a p p l a u s e which continues as I walk back to the stage. A n o t h e r means of g a i n i n g the same result without t e a r i n g u p the p a p e r is to g a t h e r the silks and swinging them over the shoulder, w a l k rapidly back to the stage with the silks streaming out behind. T h e effect of the vari-colored silks fluttering out behind the performer as he is going rapidly down the aisle, has a certain psychological effect upon the audience, and when he reaches the stage, wheels about and bows w i t h a manner w h i c h p l a i n l y says, " A l l these b e a u t i f u l colors from n o t h i n g — how did y o u like i t ? " causes them to a p p l a u d w i t h vigor. T h e reader has probably seen an actor give a dramatic command to "Stop!" H e does not merely say " S t o p , " but takes a step f o r w a r d , throws u p his r i g h t hand and pronounces the word. The gesture is ninetcnths of the command, f r o m the dramatic standpoint. I n p r o d u c i n g a selected c a r d f r o m a pack or from a spectator's pocket, do not hold the c a r d down or on a level with the waist, lint swing it out t o w a r d the audienee w i t h a somewhat dramatic gesture, accompanied b y an expression, which plainly says, "Am I rightt" The fact that y o u h a v e t h u s p u t a question i n pantomime and are awaiting their decision, w i l l a l w a y s provoke a response, w h i c h response n a t u r a l l y takes the f o r m of applause. B y the use of a p p r o p r i a t e dramatic gestures in tricks of skill, and by means of s l i g h t l y e x a g g e r a t e d d i s p l a y of the articles produced in production tricks, the p e r f o r m e r m a y create applause ivliere he desires it instead of t a k i n g it w h e n he can get it. PULLING

APPLAUSE

A t points w h e r e y o u u s u a l l y receive applause, a l w a y s pause long enough to allow the audience an o p p o r t u n i t y to a p p l a u d you, and if they fail to respond at the p r o p e r time the applause may be encouraged by holding the final position and making a slow boiv. This is of considerable importance because if the audience is slow to respond at one point and the matter is p e r m i t t e d to go by, it is almost certain to f a i l to respond at yther p o i n t s ; whereas, if it is induced to a p p l a u d at the start, when once started i t w i l l continue to a p p l a u d at the usual points. INTERRUPTING APPLAUSE N e v e r i n t e r r u p t applause or l a u g h t e r of the audience, b y hastening )n to the n e x t trick. I f the audience starts to a p p l a u d j u s t as y o u have passed on to the n e x t trick, pause and w a i t a minute, d r a w i n g it out as

mucli as possible. This should be done, not only because of the eff that applause has upon the management or even the p e c u l i a r f a c t tl the audience will better remember a p e r f o r m e r w h o m t h e y a p p l a u d , 1. because the audience takes a genuine pleasure in a p p l a u d i n g . Int r u p t i n g applause causes the audience to t h i n k t h a t y o u h a v e little rega f o r its o p i n i o n — a condition w h i c h t h e y are quick to resent. A certs well-known humorous magician, who w a s i n the h a b i t of r e c e i v i n g u limited applause, made the mistake of r e m a r k i n g on one occasion at a Ni Y o r k Theatre, " S a v e y o u r applause f o r the D i v i n g A c t " ( w h i c h w billed to f o l l o w ) . T h e audience took him at his word, and t h o u g h presented the B i l l a n d L e m o n trick, w i t h w h i c h he had n e v e r f a i l e d provoke storms of l a u g h t e r and applause, his w o r k on this occasion w greeted w i t h silence f o r the r e m a i n d e r of the act.

INVITING A SPECTATOR UPON THE

STAGE

G r e a t p a i n s should be taken to avoid the embarrassment sometimi caused b y the audience r e f u s i n g to respond to y o u r invitation to come u on the stage f o r the purpose of e x a m i n i n g some article, or assisting y o u i some trick, as the case m a y be. Not only is it extremely t r y i n g to tl p e r f o r m e r but there is almost c c r t a i n to be some one present to laug a t the p e r f o r m e r ' s p r e d i c a m e n t a n d cause h i m to lose command of h audience. A l w a y s a r r a n g e such experiments so t h a t t h e y can, if nece.1 s a r y , bo successfully p e r f o r m e d without assistance. I f tbe audience doe not immediately comply w i t h y o u r request, employ some ruse to indue them to respond or else immediately proceed without their assistance.

RUSE TO GET SPECTATOR UPON THE

STAGE

T h e f o l l o w i n g is one means I h a v e f r e q u e n t l y employed to brinf a spectator u p o n the stage to assist me i n the " C a r d f r o m P o c k e t T r i c k . ' I begin as f o l l o w s : ' ' Now, I shall require the assistance of some gentle man f r o m the audience to hold this p a c k of cards f o r me [looking towarc spectators in f r o n t row.] W o n ' t y o u assist me, s i r ? [ g e s t u r i n g towarc some y o u n g men who look p r o m i s i n g ] . Y e s , y o u are the gentleman ] mean. [Motion t o w a r d run-down.] Y e s , come r i g h t u p these steps here [extending one hand as i f to help h i m u p t h e steps]. T h e foregoing, w h i c h is almost certain to b r i n g response, having f a i l e d in this case because of a previous performer having made sport oj a spectator in i n d u c i n g h i m to come u p o n the s t a g e — I do not hesitate for an instant but immediately continue. [ R a i s i n g hand, p a l m o u t w a r d . ] " J u s t a minute, s i r ! H o l d y o u r seat, p l e a s e . " [No one h a v e moved at a l l ; but the audience is not aivare of this.] [Looking u p t o w a r d audience.] " I t has just occurred to me t h a t i t w o u l d p e r h a p s be more interesting i f I p e r f o r m this experiment right down among the audience. Y e s , I ' l l come right down there." [ W a l k i n g down run-down, and e x t e n d i n g the p a c k t o w a r d a spectator.]

" A n d still w e w i l l have the gentleman hold the pack just the same. [As he takes p a c k I retain my hold on pack with one hand and take hold of his forearm w i t h the other and raise his hand high above his head.] "Just hold it u p t h a t w a y f o r a minute so that every one can see that y o u r e a l l y h a v e the p a c k . " [Looking about towards back of audience.] " S o m e of those people a t the back are standing u p to see y o u — d o y o u mind standing u p f o r a moment, p l e a s e ? " [He does so, and t u r n i n g to audience.] "This is the gentleman who has the p a c k — ( s t e p out into the aisle a minute, please, sir.) [ D r a w i n g h i m out into the aisle, I manage to get in between him and his seat, r e m a r k i n g w i t h a smile] " N o w , as long as we are so far, w e might just as well go right up on the stage." T h e spectator, of course, goes u p on the stage and the audience, b y this time, r e a l i z i n g the ruse and considering it a good joke on the spectator, greets our march u p to the stage w i t h l a u g h t e r and applause. A r r i v i n g there, w e t u r n about to the audicnee and I remark, " N o w that I h a v e p e r m i t t e d this gentleman who insisted upon going on the stage, to g r a t i f y his ambition, we will procccd w i t h the e x p e r i m e n t . " [Turning to victim.] " N o w , t h a t we are both "Actors," will y o u place this p a c k in y o u r pocket ? T h a n k y o u ! ' ' W h i l e I m i g h t give other ruses designed to accomplish this result, I feel t h a t the r e a d e r can a d a p t this method to fit most a n y circumstance b e may meet w i t h . CURTAIN A T CONCLUSION I n p r a c t i c a l l y all magical acts the bulk of the applause f a l l s on tbe conclusion of the act, to a greater extent than is t r u e of most a n y other f o r m of entertainment. T h e r e f o r e it is an advantage to prolong this final a p p l a u s e w h e n e v e r possible. I n the case of an illusion in w h i c h a sort of tableau m a y be formed, or in which the attitudes are retained u n t i l the c u r t a i n is dropped i t w i l l be f o u n d that by raising the c u r t a i n j u s t before the " t o u c h , " at the same time b r e a k i n g the attitude and bowing d u r i n g the final l o w e r i n g of the curtain, the applause will not only be prolonged b u t increased in volume. M a n y performers cut the applause short b y h a v i n g the c u r t a i n lowered too quickly and m a n y times the c u r t a i n is down b e f o r e the audience realizes that the act is over. T h e y then t u r n to their p r o g r a m s to anticipate the next act and their applause is lost. A slow l o w e r i n g of the c u r t a i n enables the audience to realize t h a t y o u h a v e finished a n d gives o p p o r t u n i t y to voice its opinion. " A n d this is an a d v a n t a g e — g r a n t e d it be complimentary. ENCORE T h e stage m a g i c i a n is seldom troubled w i t h the necessity of g r a n t i n g encores b u t the L y c e u m or club entertainer will do well to provide himself w i t h suitable m a t e r i a l f o r this purpose. Encores should be short and unelaborate. I t m a y consist of (a) a small effect of an i m p r o m p t u n a t u r e w i t h a f u n n y or unexpected ending.

-

(b) A humorous trick terminating w i t h a joke, either u p o n a membi of audience or the orchestra l e a d e r — o r i t m a y be a trick w h i c h leads tl audience to believe t h a t they h a v e discovered the t r i c k u n t i l the performc turns the tables on them, b y s h o w i n g t h a t he does not use the method the t h i n k ; w h e r e u p o n he m a y w a l k off, s h a k i n g his head. (c) A humorous burlesque explanation of a t r i c k p e r f o r m e d earlie i n the act, or a burlesque of spiritualism. I n presenting an ENCORE y o u are really attempting a SECOND CLI MAX. Therefore, be extremely c a r e f u l not to present either a big triel w h i c h w i l l d e t r a c t f r o m the effect of y o u r legitimate finale, or on tin other h a n d a moderate size trick w i t h a n ordinary ending, w h i c h must bt avoided u n d e r all conditions. W h a t e v e r the trick is it must affect s CLIMAX; not a l a r g e climax, but a humorous or unexpected climax, which leaves y o u r audience l a u g h i n g a n d a p p l a u d i n g as y o u w a l k off. E x a m p l e s of this sort a r e : No. 1 . B r i n g i n g a stage h a n d o u t on the stage a n d i n t r o d u c i n g h i m as " t h e g r e a t M a d a m e So-and-So; then b l i n d f o l d i n g him a n d g i v i n g a burlesque on the T h o u g h t T r a n s f e r e n c e A c t . No. 2. A f t e r expressing y o u r thanks y o u r e m a r k t h a t as the audience showed p a r t i c u l a r interest in a certain t r i c k in y o u r act, y o u have decided to show y o u r appreciation of their applause b y e x p l a i n i n g its w o r k i n g to them. T h e n g i v e a burlesque explanation of the triek. No. 3. C o m i n g out to present an encore y o u are i n t e r r u p t e d b y the orchestra leader, a n altercation ensues and he finally challenges y o u to fool him, s a y i n g t h a t he has seen y o u r act all week and he knows how to do e v e r y one of y o u r tricks, or, he has b o u g h t a book w h i c h " s h o w s how a l l the tricks are d o n e . " Performer: Leader:

" I t must be a good b o o k . ' '

' ' Y e s , I p a i d ten cents f o r i t . ' '

P e r f o r m e r : ' ' W h a t is the name of the book ? ' ' L e a d e r : ' ' H o w to be a M a g i c i a n . ' ' P e r f o r m e r : " I t must be g o o d ! H o w to be a M a g i c i a n f o r ten cents." P e r f o r m e r m a y now accept the challenge a n d present w h i c h ends w i t h a " c a t c h " at the l e a d e r ' s expense.

something

FACIAL EXPRESSION D o not be a f r a i d to smile w i t h y o u r audience, a n d some times before, w h i c h acts as a suggestion. H o w e v e r , the smile itself is quite an i m p o r t a n t matter. M a n y people, who believe t h e y are smiling, are r e a l l y grinning— especially w h e n the smile is forced as i n p e r f o r m i n g . T h e o r d i n a r y smile, u p o n the stage would a p p e a r as a g r i n , because the a r r a n g e m e n t of the stage lights tends to shorten and shadow the separation of the lips. Therefore, the stage smile should be expressed b y drawing the lips iveil apart so as to shoiv the teeth plainly.

If possible the performer should acquire a certain amount of draaatic ability in facial expression, b y means of which he can carry the nterest of his audience along with him, by affecting at times, surprise, muscment, disappointment, etc., in the execution of the various tricks, "he following are some examples: SURPRISE—When an article has vanished. BEWILDERMENT—When searching about f o r it in the air (prelimiiary to catching it f r o m the a i r ) . AMUSEMENT ;

right

rell. ime!"

AND

SATISFACTION—At

finding

it

"right

there,"

or

under the v e s t , ' ' or with an expression which plainly says, ' ' Well, Now, w a s n ' t that simple a f t e r all? I t was right there all the

DISAPPOINTMENT OR CHAGRIN—When a trick apparently fails to work r when a borrowed article is apparently damaged through accident. HEARTY AMUSEMENT—When a trick results in a joke at a spectator's p e n s e — o r at the expense of the performer, who joins in the laugh on i m s c l f , thereby encouraging more laughter. X

Also, when telling a story or joke pertaining to the trick in hand T h e p e r f o r m e r should never tell a joke not directly associated with the rick he is p e r f o r m i n g ] ho m a y effectively assume the voice and exiression of the character he is quoting or describing.

PROGRAMS FOR SPECIAL

OCCASIONS

T h e f o l l o w i n g lists of tricks are not programs, but the first p a r a g r a u n d e r the caption gives the s t y l e of t r i c k s f r o m w h i c h to compose t p r o g r a m , while below is a list f r o m w h i c h two or three items may selected and w o r k e d u p as " h i t s . " FRATERNAL AND BUSINESS CONVENTIONS T h e most acceptable tricks f o r the k i n d of audience f o u n d , a t the entertainments are of the class f r o m w h i c h the f o l l o w i n g are select© 1 . DE KOLTA, p r o d u c t i o n of m i n i a t u r e p a p e r flags on w h i c h a: p r i n t e d the emblem or initials of the association. 2. P r o d u c t i o n of l a r g e flag b e a r i n g the emblem of the associatio 3. S p i r i t slate w r i t i n g trick. 4. P r o d u c i n g a message p e r t a i n i n g to the occasion, or a j o k e a t tl expense of a prominent member. 5. T e a r i n g p a p e r designs b e a r i n g the title of the association. 6. T r i c k s w i t h borrowed articles. A r t i c l e s borrowed f r o m prom nent person caused to a p p e a r in box or l a r g e envelope p r e v i o u s l y su: p e n d c d i n a conspicuous place i n b a n q u e t or reception hall. 7. T e l e g r a m delivered to p r o m i n e n t member b y u n i f o r m e d mef senger j u s t as he is a b o u t to select a card. P e r f o r m e r insists u p o n part; choosing his card before opening envelope, becoming quite a n g r y abou it. C a r d selected, envelope opened a n d t e l e g r a m f o u n d to b e a r the nam of card selected (using " B - H C a r d s M y s t e r i o u s " ; also k n o w n a " S v e n g a l i W o n d e r " and " C a p t . K i d T r e a s u r e D e c k " ) . 8. S i m i l a r effect w i t h s p i r i t letter r e a d i n g . 9. Selected or torn c a r d f o u n d i n a c i g a r smoked b y a prominen member. 10. L i m i t e d amount of m a n i p u l a t i o n w i t h l a r g e articles easily seen, L a r g e tricks of a spectacular or spiritualistic effect. CHILDREN'S

ENTERTAINMENTS

1. T r i c k s w i t h F l o w e r s and A n i m a l s . A n i m a l s , such as rabbits, g u i n e a pigs, etc., m a y be p u r c h a s e d f o r the occasion to better advantage t h a n i f k e p t b y t h e p e r f o r m e r , a n d at the end of entertainment m a y be given to a p o p u l a r child, either on a l o t t e r y system or b y vote. j 2. H u m o r o u s tricks p e r f o r m e d w i t h one of the y o u n g s t e r s brought u p o n the stage to assist the p e r f o r m e r . 3. P r o d u c t i o n tricks followed b y d i s t r i b u t i o n of bonbons, candies, f a v o r s , or cards b e a r i n g the p e r f o r m e r ' s picture. 4. H a t production. 5. R i b b o n and F l a g P r o d u c t i o n . CHURCH ENTERTAINMENTS F o r this style of entertainment the same order of t r i c k s as find favor j in C h i l d r e n ' s E n t e r t a i n m e n t s , as c h i l d r e n f o r m a l a r g e p a r t of such; ! audiences.

1. Old-fashioned t r i c k s — h a t p r o d u c t i o n — o m e l e t t e or cake in hat —rabbit pan, a n d restored handkerchief. 2. Sun-and-Moon T r i c k . 3. F l o w e r p r o d u c t i o n a n d similar effects. 4. H u m o r o u s tricks. 5. Coffee and M i l k trick. 6. T r i c k s w i t h borrowed watches and rings. A v o i d all c a r d tricks and all tricks of a scientific nature, such as the dock dial, m i n d r e a d i n g , phenomena, and other feats that require much thought to a p p r e c i a t e . PRIVATE ENTERTAINMENTS 1. S p i r i t u a l i s t F e a t s . 2. M i n d R e a d i n g . 3. S p i r i t letter tests. 4. S l a t e w r i t i n g . ( T h i s trick probably surpasses all others f o r effective results b e f o r e this s t y l e of audience.) 5. T h i m b l e M a n i p u l a t i o n . 6. C a r d tricks, of a sort where several persons m a y select cards. 7. P a p e r T e a r i n g . 8. L i m i t e d a m o u n t of B i l l i a r d B a l l manipulation. S i m p l e t r i c k s of m i n d r e a d i n g or pretended scientific nature will be accepted r e a d i l y . T h e p r e - a r r a n g e d deck used to produce mind r e a d i n g effects w i l l p r o v e a ' ' h i t , ' ' a n d the p e r f o r m e r ' s pretended scientific explanation of a n y effect of this nature, w h i c h he desires to offer, will be '' s w a l l o w e d ' ' w i t h o u t hesitation. CLUB AND LODGE

ENTERTAINMENTS

This s t y l e of audience is the most critical to be f o u n d anywhere. The tricks presented must be up-to-date, well p e r f o r m e d and on new principles, in order to find f a v o r w i t h a h i g h class audience of this sort, composed l a r g e l y of theatre-goers, t h o u g h the smaller lodges, h a v i n g a n audience of more l i m i t e d intelligence, will not require as high g r a d e of entertainment. UP TO-DATE TRICKS 1. B i l l i a r d B a l l M a n i p u l a t i o n . 2. S p i r i t B e l l . 3. N e w a n d GOOD C a r d Tricks, p e r f o r m e d in a sprightly manner. ( C a r d tricks, w h i c h drag, or h a v e little action w i l l not hold attention.) 4. Cigar Manipulation. 5. H a n d c u f f a n d C h a i n E s c a p e , or E s c a p e f r o m Inside B a g or Box, as a c o n c l u d i n g effect. 6. S l a t e - w r i t i n g w i t h H u m o r o u s Message. 7. H a n d k e r c h i e f P r o d u c i n g a n d V a n i s h i n g B o x . 8. T r i c k s t e r m i n a t i n g w i t h a j o k e a t expense of a fellow member. 9. P a p e r T e a r i n g . A l s o most a n y t r i c k listed u n d e r the heading of Tricks f o r Conventions.

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A future treatize by the Author

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" E x p r r t IHlliarii Belli m a n i p u l a t i o n . "

FEATURES 1. Original Master Sleights of The Master B| Jail Manipulator. 2. A Complete 30-Minute Manipulative Act, arranged for stage presentation. 50 Photographs 120-lb. En3. Explanation of Author's Combination Ball ameled Paper. Pink Tint. Novelty Cover. Silk Cord Contrast Screen and Vanishing Apparatus; t Bound. valuable apparatus for a Manipulative Act ever devised. Explanation of the Invisible Trap, converting any Undraped table into a maj table in one minute. Other pieces of mechanical ball apparati. Price 50 Cents England 2s.2d. ;

BULLETIN

A l TEST-SUP l HT ST .OCKS

BURLING HULL

Printed on 100 lb. Enameled Art Paper. 50 illustrations in Half-tone and Line, from photos and drawings prepared for this book. Limited issue.

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CONTAINING The Very Latest Tricks in Pure Sleight-Of-Hand with U n p r e ed and Borrowed Articles, Improved and Perfected so th; Difficult Moves are Eliminated. SLEIGHTS In his experience as a professional magician and as an inventor as the Only American Instructor in Manipulation, Burling Hull devised a remarkable number of Sleights. From them he has carefully selected Master Sleights which h lieves most needed by the Professional and Amateur Magician. 1 are so subtle in nature that they form perfect optical illus; and thus require but the Simplest, Mechanical Movemc Possible for Any One To Execute, as they deceive by j Inate cleverness, rather than by the skill of the performer. This volume contains a number of the Author's very best orii tricks with unprepared and borrowed articles. Price 50 Cts. Great Brittain 2s. 2d. Postpaid.

Price t

SLEIGHTS BURLING

BURLING

HULL

AFRICAN MAGIC CORPORATION

B k

HULL

One of the cleanest, smartest, cleverest, little volumes that come to our notice. A number of very clever moves, tricks, p< es, and sleights, with some good advice on stage performing ; Showmanship. Also contains several tricks reprinted from "De try" and "Sleight Sheets" by the same author, which are nowi of print. Even the cleverest magician can learn something fr this book and it would be hard to find better value for the mon Price lO Cts. / ^ L - M f t C f " Great Britain 6d; Postpaid nrtA