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Bonjour, En pleines recherches j'en appelle à votre culture concernant les gimmicks vendus (et non pas des techniques publiées qui sont répertoriées sur Artefake ) permettant de réaliser un effet de Card to Box (de carte à la boite). Je parle bien de boite, ou de contenant, et pas de carte au portefeuille (on est pas en VR, donc pas plus de détail) Pour débuter je propose Kennedy box (mystery box 1 et 2) Cell de David Stone Carte signee dans la boite (Henry Mayol) Jack in the box (en bois) Gilligan's Prediction (un peu différent...) Merci à vous.

Sans vouloir passer de la pommade, je pense que Christian Chelman a tout dit. Il faut travailler pour tout le monde mais mettre en place plusieurs degrés de lecture. Par exemple, dans une routine donnée, les enfants y apprécieront les effets, la couleur et la forme de certains objets, les adultes apprécieront l'histoire, les jeux de mots, l'harmonie entre les effets et l'histoire, les magiciens apprécieront l'approche (la façon d'amener certains accessoires ou certains sujets), certaines subtilités techniques ou psychologiques, etc... La magie de monsieur Chelman nécessite un cadre, une atmosphère particulière qui l'a obliger à faire une croix sur le close-up dit "de table en table". Ses arguments à l'encontre de ce type de magie se tiennent. Pour autant, et cela va être une différence entre lui et moi, je ne pense pas que le close-up en table à table soit de la magie "McDo". C'est une situation différente avec d'autres contraintes et d'autres avantages. Pour la magie bizarre, il est évident qu'il est très délicat d'en présenter en table à table mais ce n'est pas impossible. Dans certaines soirées, cela est possible. C'est plus délicat mais c'est possible. Je ne renie pas non plus la magie en boîte de nuit ou dans n'importe quelle situation contraignante. Non pas parce que j'ai besoin de manger (je ne suis pas professionnel, la magie est ma grande passion) mais parce que je pars du principe que l'on est censé savoir faire des miracles en toutes conditions et se placer (en y étant préparé bien sûr) de temps en temps dans des situations contraignantes est très enrichissant. Cela peut développer la créativité, l'improvisation (qui en réalité n'en n'est jamais vraiment) ou vous faire découvrir certains outils exploitables pour d'autres prestations. Par exemple, une fois, j'étais dans un parc avec des amis (non magiciens) et l'un d'eux venant d'apprendre ma passion pour l'illusionnisme me demanda tout naturellement de lui montrer quelque chose. Je n'avais ni jeu de cartes, ni accessoire spécifique sur moi, pas même mon portefeuille pour faire quelque chose avec ma carte vitale ou une pièce de monnaie. Et je me refusais de sortir la sempiternelle phrase "désolé, j'ai rien sur moi aujourd'hui mais tout-à-l'heure si tu veux...", phrase aussi désastreuse que le fameux "voici un jeu de 52 cartes normales à dos rouges" (rien de plus efficace si vous voulez éveiller les soupçons). Alors qu'est-ce que j'ai fait ? Je me suis accroupi, ma veste touchait le sol, ma main droite à saisie un caillou (que j'ai choisi judicieusement pour être facilement empalmable). A ce moment, mon intention était de faire une simple disparition de caillou. Mais en saisissant ce caillou, ma main gauche toucha le sol et tout de suite je me rendis compte qu'elle était couverte par ma veste alors, sans réfléchir, j'ai saisi une poignée de petits cailloux à l'aveugle (en main gauche). La suite ? L'image de Odd Job (un des "méchants" dans James Bond) broyant une balle de golf dans sa main m'a traversé l'esprit. J'ai donc fait un faux dépôt du caillou (empalmage classique) dans ma main gauche (que j'ai à peine ouverte pour ne pas flasher les petits cailloux) et j'ai fait mine de broyer ce dernier. L'impact a été bien plus fort que ce que j'imaginais. Depuis, je présente régulièrement cet effet quand je suis dehors. J'ai juste ajouté une subtilité pour me débarrasser du caillou empalmé. Une fois le faux dépôt effectué, je saisi un petit caillou en main droite tout en déposant celui empalmé au sol (parmi tout les autres) et je continue mon boniment : "Dans James Bond, une fois, j'ai vu un des méchants prendre une balle de golf et la broyer en petits morceau comme ça (je montre le petit cailloux à ce moment)" puis, sans rien dire, je regarde ma main, fait mine de broyer le "gros" caillou que j'y ai placé juste avant (il y a un bruit sympa avec certains cailloux), j'ouvre la main et je laisse tout tomber au sol. Quand je suis à une table, je regarde toujours tout ce qu'il a dessus en recherchant le "potentiel" de chaque objet : couteau, fourchette, petite cuillère, verre, assiette, nappe, fleurs, bougie, sel, chaise, tasse, sucre, feuille de plante, etc... j'ai aujourd'hui au moins un effet "improvisable" avec chacune de ces choses. Ce genre de tour ne va certes, pas "aussi loin" qu'une routine de magie fantastique mais le côté apparemment impromptu et avec ce qui "vient sous la main" en font quelque chose d'incroyable. Et puis avec le temps, mes "improvisations" sont accompagnées de textes plus étoffés avec accents culturels, références à des mythes, films ou sketch plus ou moins connus, petites notes d'humour mais toujours en préservant le côté spontané (car je dois sembler improviser, il ne faut pas que cela fasse "récité"). En cela, le stage avec Gilbus m'a donné de nouveaux outils très intéressants. Bref, pour revenir au sujet : magie pour des enfants, des adultes, connaissant les bases de l'illusionnisme, experts ou profanes, il faut chercher à "emporter" tout le monde au travers de nos spectacles. J'ajouterais juste : "et dans des situations différentes, des conditions différentes de présentation". De ce côté, Kieron Johnson est un exemple contemporain.

On a profité d'unes de ses rares escales dans le port du Canal du Midi... et on a bien fait. Pas besoin de dire qu'Arthur est un type sympas, bourré de talent, curieux de tout et surtout de magie... Arthur est pro, sa magie est simple et donne envie de travailler. C'est quand on le rencontre en vrai qu'on s'en rends compte ! Même la première fois, c'est un peu comme retrouver un vieux (sic) copain... Alors, oui l'ARH Toulouse a eu la bonne idée de le faire venir en conférence et lui a donné carte blanche pour son repas-show ! Côté conférence, il est prolixe l'Arthur : considérations sur le métier de magicien et de MC en bateau-croisière. Il en connaît un rayon (faut dire qu'il y passe 40 semaines par an !); puis viennent (dans le désordre et j'en oublie) : Un trio de disparitions et réapparitions à des endroits impossibles : - La bague empruntée qui se désenclave mystérieusement d’un lacet de cordonnier et qui est retrouvée à l’intérieur d’un papier fermée par 4 agrafes, avec l'utilisation d'un mouvement de John Carney et d'un Swami; - Carte au portefeuille sans portefeuille. Les enveloppes sont de David bonsell sur le site propdog, site anglais. Belle utilisation de sa carte de visite comme guide; - Une carte blanche signée, et retrouvée dans un coffre qui était dans un sac depuis le début de la routine. - Le tour du mono gobelet avec doseur double; - Billet dans le capuchon : Le billet emprunté et signé qui disparait magiquement est retrouvé dans le capuchon d’un stylo. Pour le bouchon "spécial" il s'est basé sur le travail de Richard Sanders, le sleeving d'Arthur en plus; - Sushi : carte au couteau avec une baguette japonaise et une mouche sur une jolie histoire; - Houlette à la paille : une idée de présentation originale pour ce classique permettant la participation du spectateur; - Le foulard blanc dans le foulard rouge : fusion originale des routines de Bloom et Salvano. - Une partie sur les ballons, avec de belles techniques comme "déchirer un ballon en deux sans enlever l'air des deux parties" et "comment mettre une bille en ballon dans un ballon" ! Côté carte blanche à Arthur ! L’entrée sur scène utilisant une télécommande à super public. Guillaume Tell, le billet dans la pomme bien sûr ! La comédie en plus. Le neurone en ballon... un must. Ventriloquie... Le sel inépuisable (Fred Kaps ) qui a bluffé toute l'assemblée Le grand final : sa cabine spirite sans assistante sur la BOF de Skyfall... un petit bijou. Avec les explications svp pour clôturer la carte blanche. Bonus : Les boulettes en reprenant le positionnement de Slydini, plus loin du spectateur et un détournement oublié avec la main droite ainsi que des références sur les systèmes de micro et d'enregistreurs : Audiotecknica pour le meilleur rapport qualité/prix, mais les DPA pour ceux qui veulent encore mieux... Arthur nous a également parlé de la méthode Blivet, pour apprendre à parler du ventre ! Journée magique autour d'Arthur TIVOLI réussie ! On en redemande. A bientôt Arthur ! Merci à Hugo pour ta relecture et tes ajouts !

Nicolas Ribs est un magicien lyonnais que j'ai rencontré dimanche 28 août lors d'un petit spectacle organisé par un commerçant pour la réouverture de son magasin après ses congés. Une vingtaine de table disposées en plein air sur une petit place devant le magasin, une estrade, un peu de sonorisation, une ambiance conviviale et décontractée avec apéritif et assiettes de charcuterie sur les tables, public familial avec la présence de beaucoup d'enfants. La presta a duré une heure environ, divisée en deux parties. Nicolas Ribs a parfaitement maîtrisé ses balles en mousse, sa carte au portefeuille, les ambitieuses, la carte désignée retournée dans le jeu (je crois n'avoir jamais vu un spectacle de magie sans assister à ce tour, c'est incroyable!)et une mention spéciale pour sa routine de pièces de Johnny Wong... J'aime beaucoup son personnage. Il n'a pas le sourire facile, plutôt du genre faussement grognon, mais il n'en demeure pas moins un personnage très sympathique qui fait sourire et rire. Son texte est bien rodé et on sent l'expérience dans ses réparties avec les gens et surtout les enfants... J'ai un peu moins adhéré à la seconde partie, la partie mentalisme. Trois livres en même temps, un peu de confusion, un spectateur qui ne comprend pas tout, j'avoue avoir un peu perdu le fil et mangé du saucisson à ce moment-là... J'ai adoré en revanche le début de cette partie mentalisme avec un dé, de table en table, le spectateur choisi son chiffre et le place en l'air sur la table, cache le dé avec la main, et le magicien le dos tourné devine le chiffre choisi... C'est peut-être un grand classique mais c'est une belle découverte pour moi, et d'ailleurs si vous avez des références, merci d'avance! Pour avoir discuté avec lui, l'artiste est très très disponible et n'hésite pas à sortir deux trois tours supplémentaires au fil de la conversation. Je sais qu'il fréquentait le forum il y a quelques années, alors s'il passe par ici... merci, ce fut un très bon moment en votre compagnie.

Salut à tous, Je cherche un portefeuille Himber-Bombshell, avez-vous des références ? Merci beaucoup.

Une longue critique trouvée ici Performing Magic has had staggering previews (from the likes of David Berglas, Jeff McBride and Paul Daniels) but is rather lacking in critiques. Maybe the publishers, at £69-97 a shot (plus shipping; or £99-97 plus shipping, if you would like a signed copy – that’s £30 for Tony Middleton’s autograph!), have been reluctant to submit it to editorial scrutiny: indeed it’s hard to see how any critiques could better what these distinguished endorsers have written and, as such, I can’t blame all those concerned with the project resting on the laurels already received. However surely a book that purports to be, as was stated in one marketing email I got, “what people are calling ‘the greatest magic book ever written’...” is deserving of a considered critique? So here we go. As this is going to be rather long, perhaps I ought to start off by giving my credentials for writing such a critique. I’ve been a professional magician for some twenty years: during that period I have worked in all aspects of magic from close-up, cabaret and the stage. My speciality, if I have one, is stand-up comedy magic: and I wrote a book on the subject. At present I’m concentrating on performing my one man show, Funny Tricks, which I tour around art centres and village halls. I am therefore pretty familiar, from a practical and theoretical stance, with most aspects of ‘performing magic’. Tony Middleton’s own principal performing (as opposed to directing) experience seems to be somewhat narrower. His speciality is close-up magic. The tools which he writes about he says he has used to “create theatre based magic shows and develop my own performance as a close-up magician.” However his close-up is even more restricted than one might expect. He concentrates on (to quote his own website) “Walk-around close up magic and table magic”. So not even formal, or parlour, close-up magic. The reason I mention this is because it does raise the question as to whether the typical corporate, or private party, walkabout environment is the best place to apply theatrical-type techniques to improve your magic. When it comes to directing, it’s hard to know exactly what Tony has done: although many venues are mentioned in his author’s biog where he has been a “director, assistant director and magic consultant”, none of the actual shows are listed (apart from live footage for the Britain’s Got Talent Stage Magician kit, which I tend, perhaps unfairly, to discount). The only named shows we know he definitely directed are Chris Dugdale’s two live shows. I saw one of these – An Evening of Magic & Mindreading - at Riverside Studios. This is not a critique of Chris’ show so I won’t make any comment beyond saying that I would perhaps like to see another couple of Tony’s directed shows before being entirely convinced of his merits in this field. Ah well – just because you aren’t doing it, doesn’t mean that you can’t teach it. And theoretical books on magic performing are, as Tony Middleton stresses in his Introduction hard to find. Indeed he mentions eight: Our Magic by Maskelyne and Devant; Showmanship for Magicians by Dariel Fitzkee, Magic and Showmanship by Henning Nelms, The Five Points in Magic and The Magic Way by Juan Tamariz, Strong Magic by Darwin Ortiz, Magic & Meaning by Burger and Neale and Maximum Entertainment by Ken Weber. The way this is written (“just a handful of magicians have considered the performance of magic important enough to write something about it. I believe the movement starts with Our Magic...”) suggests that the author considers the above an exhaustive list when it comes to magic theory: rather than just the ones he believes are worth reading. There is another clue to the author’s depth of study provided by the bibliography at the back of the book. As there is no comment on this list, one assumes that these were the books he read himself whilst researching his own oeuvre. For some reason, doubtless only known to the proof reader, Fitzkee’s book and also Tamariz’s Magic Way are missing from this bibliography: this is especially unfortunate as Fitzkee is quoted on pages 122 and 159, with footnotes ‘Fitzkee p 176’ etc. Anybody seeking the reference to Fitzkee in the bibliography will seek in vain. Standing in for these two missing magic books, are MaCabe (sic, it is of course McCabe), P, Scripting Magic and Houdin, R The Secrets of Conjuring, which should read Robert-Houdin, J-E The Secrets of Conjuring & Magic. (Robert-Houdin is a double barrelled surname; his first name was Jean-Eugène. Pedantic? I don’t think so, when the author is at pains to fully quote, and analyse, from Robert-Houdin’s book his famous phrase “a magician is an actor...”) The remaining books in the twenty five strong bibliography are those aimed at actors (and one on professional and personal goal setting), apart from four books written by C Dugdale and P Jay: more on these two worthy gentlemen later. So is Tony Middleton’s list of magical theoretical books comprehensive? I would say probably not. Notable by their absence are Sam Sharpe’s numerous books (in particular Neo Magic) John Carney’s The Book of Secrets and Magic by Design, Geoffrey Durham’s Professional Secrets, Foundations: The Art of Stage Magic by Eberhard Riese and The Books of Wonder by Tommy Wonder. Furthermore, Fitzkee also wrote The Trick Brain and Magic by Misdirection and Darwin Ortiz has also written Designing Miracles, all further theoretical books. I hesitate to include my own book – but, heck, why not? Add in Stand-Up: A Professional Guide to Comedy Magic by Ian Keable. So, to summarise the author’s credentials to date, we appear to have someone inexperienced in performing in many fields of magic, rather limited in his directorial roles and whose reading generally on the subject of magic theory is not huge. It is not an auspicious start. Still, to be fair, Tony Middleton’s selling point is that he’s an “industry trained theatre director and magician” and that because of his inside knowledge into the theatre world “there are many dramatic principles, methods and techniques common in the theatre industry which are practically unknown in the world of magic. Let us apply these theatrical techniques to magic and your magic will dramatically improve.” Now I love books on theory – I have devoured all the above books (apart from those written by the aforementioned C Dugdale and P Jay, which passed me by), normally in one or two sittings: and have returned to many of them again and again. They are usually thought provoking, inspirational and, just by taking a single point on board, can dramatically improve one aspect of your magic. But this book I really struggled with. The reason for this is partly to do with what some might feel was my rather over-the-top analysis of previous books on magic theory that Tony Middleton references. My gut feeling, from this list, is that he isn’t that well versed in book reading; or, if I libel him here, in his own reading he hasn’t absorbed how the majority of books are actually written to make them easy for the reader to comprehend. Because, with Performing Magic, I have rarely come across a book so poorly edited, structured and laid out - rendering it at times virtually unreadable. This is particularly curious because the author is quite a good writer: he knows how to string a sentence together, but unfortunately not how to put a book together. I’ve got no idea whether this is entirely his fault; but as nobody is thanked for editing or proof reading or indeed any assistance in actually writing the book (normally done in the Acknowledgements section – but this book has none), the author must accept the blame. To illustrate this, I will take you through the first few sections of the book. After some effusive quotes and the author’s biog, referred to above, the book begins proper with two Forewords by Paul Daniels and David Berglas: this is not a good start – most books just have the one, and two looks decidedly odd. We then have a Preface – which isn’t really a Preface at all. It’s making a point about the difference between ‘magic’, ‘effect’ and ‘trick’, although the sub-heading is ‘Magic and tricks’, so I’m not sure how ‘effect’ slipped in. It’s a reasonable point to make but the Preface is not where you would make it: a Preface generally covers the story of how a book came into being, or how the idea for a book was developed. The next section is titled This Book: which says what he wants the reader to get from the book (“I want it to be a tool kit that magicians can revisit again and again”) – in other words, more of a Preface really. Next comes an Introduction, explaining in more detail what the book is about: this is fine and is where the information in the Preface should also have been included. The Introduction ends with the rallying cry: “Are you ready to begin work?” I sure am. However the author apparently is not. Because we now have three more sections, which should again be part of the Introduction, with no particular linked theme. First up is ‘Close-up magic and stage magic’ (at this point I’m going to have to use inverted commas when referencing chapters, sections or sub-headings, because only the first word in these are in upper case), in which the author explains the difference between the two. He writes: “I know that performing close-up magic and stage magic is vastly different” – something perhaps he should have borne in mind later on in the book when the vast majority of his examples of applying his techniques are limited to close-up magic. The most egregious instance of this being when he writes, in references to hecklers: “I wouldn’t suggest that you meet them with clever retorts” (precisely what you would do, at least in the first instance, in cabaret or on stage); instead he suggests that you involve them with your magic (the last thing you should do in cabaret or on stage). Then comes ‘Technical competence’: its importance is rightly stressed, although it seems a little tough to suggest you shouldn’t be reading this book if you can’t perform a number of core sleights and moves. In case you are deficient in such matters, the author advises: “you can’t beat the Tarbell books, Greater Magic, Bobo’s book on coin magic, The 13 Steps to Mentalism and The Royal Road to Card Magic”. I have used his italics: so, as you can see, we have a mix of books italicised and not italicised, authors’ names without the book titles and book titles without the authors’ names. None of these books are given their full title and author and none of them are mentioned in the bibliography. So if someone wasn’t up to speed on “core sleights and moves”, they might have a problem tracking down their source. The final section is ‘Theatrical Language’, which stresses its three elements: attention, awareness and dynamic. Exploring these factors “will lead to the discovery of a tangible theatrical language. I want to put this in your mind now, but don’t worry if you don’t get it at this stage...we will investigate fully in Part 3.” Well I certainly didn’t get it then (and didn’t really get it after I had read Part 3). What’s the point of introducing something so early on if you aren’t going to expand on it until some 160 pages later? Already, as a reader, you are just not quite sure where you are; as the author correctly stresses in his book, when watching a performer you want to feel comfortable in his hands, knowing that you are dealing with someone who knows what they are doing – not a complete novice. When it comes to writing books, in this case I really feel I’m in the hands of a complete novice. So does the reading experience and general layout get any better once we reach the meat of the book? Sadly not. It is broken up into three Parts (I will use a capital P for Part), Foundation, Structure & Detail and Performance. But within each Part there are no chapter numbers – although there are breaks as set out in the Contents page that suggest separate chapters are intended. Using this criterion, Foundation has five ‘chapters’ of which the first, ‘A Basis to build upon’ is one page, the second ‘Be specific’ three pages and the remaining three, ‘Circumstance’, ‘Character’ and ‘Objective’ respectively fifteen, eleven and nine pages long. Once again this is highly disorientating to those of us used to reading teaching-type book where chapters tend to be of approximate equal length. The majority of ‘chapters’ have section headings and sub-headings. In the Contents page, the sub-heading is italicised; but in the ‘chapter’ itself, it is the section heading which is in italics. A minor point perhaps, but when there are also no indentations to differentiate between section headings and sub-headings, it’s hard to know where you are in any particular chapter. Indeed at times the author doesn’t appear to know himself. In the chapter ‘Continuing work’ we have an opening couple of paragraphs before any section heading. The final sentence is: “The following are techniques that can help you with analysis and development once your show is up and running.” We then have a section headed ‘Performance notes’ (it’s in italics so we know it’s a section heading). So one assumes this is the first of at least a couple more. But no, the four other headings (‘Noting yourself’, ‘Keep listening’, ‘Watch yourself back’ and ‘Ongoing pruning’) are sub-headings. I suspect in this particular case it is (yet another example of) sloppy editing (and when I’m paying £69-97 + shipping for a book I don’t expect sloppy editing, certainly not of this magnitude and frequency): what we should have had was five sections or five sub-headings. Fortunately this is a short ‘chapter’ and therefore not too hard to follow. But one of the longest ‘chapters’, ‘Presence’, has, in its twenty nine pages, fourteen sections and fifteen sub-sections. That, if you do the maths, represents some sort of heading on every page. The net result is that at times you feel you are just reading a series of bullet points. And a power point presentation is no substitute for a book. To be honest the book was such a laborious read (I really had to force myself to look at every word – you were constantly tempted to skip to the next bullet point, particularly as the text in many instances added very little to the heading) that I’m going to stick my neck out and say that I honestly don’t believe any of the magicians who so strongly recommended this book, or indeed wrote the multiple forewords, actually sat down and read the book in its entirety. They probably did, what I initially did, which was to skip through the headings, read bits and pieces, and concluded that it all looked great in theory. Fortunately there are some extended interludes between this mass of bullet points; and when you stumble across them they are a welcome relief. However some of these watering holes in the desert are very odd. Perhaps the most bizarre is a recorded telephone conversation which Tony has with Phil Jay about developing a routine for a cabaret act (yes, it appears Tony does perform cabaret, although this isn’t mentioned on his website, where his billing is ‘International Close Up Magician’. Nor indeed does Phil Jay, as far as I know, perform cabaret – not that that discounts him from offering ideas of course). During the course of the conversation an idea that Tony has for performing Just Chance twice (Phil’s first comment, unsurprisingly, is “Do you need to do it twice?”) transmutes into a Bill in Lemon Number Prediction. I’ve got no clue – and their chat lasts some half a dozen pages – what this is meant to illustrate (the section heading is ‘Working backwards’). It’s not made clear if Tony has ever performed the trick that emerges at the end of the call; and, if he has, what exactly the final product is (he does write: “I still revisit it between the shows and think – ‘could it be better? Is it deceptive enough? Is it dramatic enough?’” – is he revisiting the idea or the trick itself?) Hearing the preliminary brainstorming of a trick could perhaps be interesting (and I stress the word ‘could’) but only if we are let in on what the final – hopefully successful - version of the trick is. Another welcome relief is when Sonic (Sonic is Tony Middleton’s performing name and he insists on referring to Sonic in the third person: which would be fine if Sonic was a character act of some sort, like John Carney’s Mr Mysto or Geoffrey Durham’s The Great Soprendo. But, as far as I can tell, Sonic is Tony Middleton by a different name) details one of his tricks. Apparently Sonic (the ‘chapter’ heading even says The Changing of the Guard by Sonic, the only one that uses capital letters for more words than just the first, so we know for certain that it is Sonic’s trick. It’s also the only chapter that has colour photographs in it - to illustrate the card moves – further giving the impression that it was dropped in from another book, rather than specifically written for this one) was “in two minds about putting it in print, because I don’t really want other magicians performing my tour_d'entrée.” If I’ve just spent £69-97 (plus shipping) on a book, I really don’t want to be told how lucky I am to be given his opening routine – especially when the routine is a combination of the extremely well know (unnamed and uncredited: it’s from Frank Garcia’s Million Dollar Card Secrets, although to be fair it was almost certainly uncredited by Garcia as well) Chicago tour_d'entrée with a colour changing deck effect. Hardly revolutionary stuff. There is nothing wrong with the trick and I’m sure Sonic gets plenty of mileage out of it. But in detailing it, he has hit, for what is for me, the most fundamental flaw in the book. For this I must back up a bit. When anyone writes a book on magical theory – particularly when they are introducing theories which are new to me – what I want to see are those theories supported by practical examples of magicians applying them. Now in some cases I might be more than happy with examples from the author’s own act – especially if that magician is well known and generally considered to be one of the top performers around. The less well known the individual, the more examples I want from other magicians who I might have heard of, or at least I could check up on. I want to stress that this is a criterion I have always applied. When writing my own book I realised that the vast majority of readers wouldn’t have heard of me; so, although I did give many examples from my own act, the vast majority came, with their permission, from other magicians’ acts who I knew most readers would have seen or heard of. Similarly, not so long ago, I reviewed a book on improvisation by a magician I didn’t personally know. I was forced to give it a poor critique because I instinctively didn’t go along with most of his theories; and the author was unable to give me any examples of how his theories were actioned by anyone besides himself. And so we come to the theories in Performing Magic which, as the author is keen to stress at the outset, should apply to all types of magic. And yet the overwhelming examples to substantiate the theories relate to close-up magic; and, what is more, close-up magic performed almost exclusively by the author, Phil Jay and Chris Dugdale - that is walkabout and table hopping for corporate and private parties. Now I’ve never seen Tony Middleton perform and, if it wasn’t for this book, I wouldn’t have known he was a close-up magician. Phil Jay and Chris Dugdale are better known and certainly by all accounts extremely successful close-up magicians. But I have hardly ever seen them in action and they are not the type of magicians who frequent magic conventions. I would suspect, therefore, that the vast majority of readers of this book would be in a similar position to me. So are we just meant to accept that, because they say something should be done in a certain way, then that is the right way? Yes, seems to be the answer. For example, one technique which all three seem to use is the procedure of controlling your audience by mirroring how you want them to respond. The author writes: “To get your audience to react, you need to show them how and reward them when they do it. In my close-up act, I sometimes say ‘wow!’ or react with surprise...” Just in case we haven’t got the idea of how important the author considers this concept to be, there is a chapter called ‘A pictorial study of reactions’ which comprises eleven photos of Phil, Chris and Sonic in action. In quite a few of them, we can see pictures of the performers going ‘wow’. Personally I would never use this ‘wow’ technique’; and I would much prefer to watch someone who perhaps deadpans or shrugs it off or simply looks bemused at the climax of a close-up effect. However I accept that in the corporate / private party walkabout situation, it’s a valid technique. But is it a similarly valid technique in cabaret or theatre work? If it is, there are no examples given either in writing or in picture form of it being used by Phil, Chris or Sonic. Ironically at one point in the book, in a section titled ‘Understated’, the author writes: “when your magic is good, you shouldn’t need to shout about it.” Throughout the book there are sundry examples (although still not nearly enough) of what these three performers do to corroborate the author’s theories. But they are all very one dimensional: in that all three seem to do exactly the same and, to overstress the point, almost exclusively apply to close-up. Also, some of the examples are banal, to say the least. To illustrate that the audience don’t care about your personal circumstance – they just want to be entertained - the author relates in a tedious anecdote how he cut his finger before a gig and how he managed (bravely) to hide the injury from his audience. Wow! Another example is given where Phil Jay performs a trick where the aim seems to be to show up another magician. Or, again, Phil deliberately blocks certain spectators from seeing the climax, so they have to stand up – thereby generating a ‘standing ovation’. How annoying would that be when you are performing on stage? I may be wrong but I can’t recall a mention of another close-up magician by name besides this trio of wonder-workers. Any comments on other close-up magicians are negative; there’s the above example with Phil Jay showing a colleague how magic should be done. Maybe that particular magician wasn’t that good but how about this for a sweeping generalisation: “There is such a thing as the typical London magician. They all do coin in bottle, they all do the ambitious card and they all do card to portefeuille. They do it almost exactly the same as everyone else.” That would be the likes of Richard McDougall or Nick Einhorn or Fay Presto or Guy Hollingworth or Michael Vincent then? He even has a rather pointless and gratuitous dig at The Magic Circle stating that he knows “several performers who are not associated with The Magic Circle at all, and are among the highest paid and most successful magicians in the UK.” Interesting choice of words there – he doesn’t say the “best magicians” but “the highest paid”. Of course many of the best magicians, and indeed highest paid, aren’t members of The Magic Circle (Derren Brown for one!); but there is an uncomfortable, slightly elitist odour that permeates the whole book equating ‘being a good magician’ with ‘making loads of money’. A particularly unpleasant passage advises “it would be a mistake to dress in a dinner jacket and bow tie at most corporate events. Why? Because you will either look like one of the guests, or worse, people may think you are a waiter, and treat you as such.” In the circles I move (which I confess also includes The Magic Circle), I much prefer to be considered one of the guests when I’m performing magic (indeed wasn’t it one R Houdin (sic) who ushered in the era of the magician dressing in a similar style to his audience?): I take it as a compliment if people think I am. And also, in my circles, people tend to treat waiters reasonably well. Occasionally there are examples from stage performing – and once again Chris Dugdale and Phil Jay (who we have already seen being on the end of the pointless telephone call about the Just Chance routine) feature. Sonic, in another reference to his under-publicised cabaret act, performs a Sawing in Half on a member of the audience where, to prevent the problem of someone not wanting to come up and assist, he, with the help of Chris Dugdale, devised an idea of sawing through the woman without her knowledge (or, to be more accurate, making sure she’s shackled, blindfolded, has headphones on and lying on a table – by telling her a string of lies - before she realises she’s about to be sawn in half). Sonic pleads with us not to copy his routine. Later on in the book, in a section called ‘Working with volunteers’ he writes: “when working with a volunteer, you need to make them look good. This can be done in two ways: 1. Make them feel comfortable....” Chances are we probably won’t copy it then. When discussing the importance of ‘The big finish’ to an act, his only example is his thought of having the girl vanish at the end of the Zig-Zag Girl (he calls it Zig-Zag Lady – I know I’m being pernickety again but a quick check on Wikipedia would have found the right title to Robert Harbin’s famous illusion) and for her to reappear at the back of the auditorium. That’s not an example, that’s a fantasy wish: perhaps a chat with Chris and Phil might have been useful on this occasion. In a section ‘Focus on the story, rather than the trick’ the author talks about the very important technique of using a story framework for a routine, taking it away from being a mere puzzle. Inevitably he turns to Chris Dugdale (to be fair, as pointed out earlier, Sonic did direct Chris’ stage show, so in this case it’s reasonable he should use something from it). However it really isn’t a good example. Essentially the number 44 is forced (on the night I saw the show rather obviously, but the method isn’t mentioned in this book) and this same number recurs on some images that are projected on to a screen, whilst Chris talks about a strange dream he had. If you are going to use multiple climaxes to illustrate a story framework, wouldn’t it be better to give an example from the master of this technique, Derren Brown? I should say that Derren does get a couple of mentions. One of these is in the chapter on ‘Character’. Here the author wants to show how great performers communicate themselves emotionally (you can’t argue with that). He writes: “Let’s think about some of the top magicians and what makes them successful performers.” Now at this point you are hoping for something insightful that might assist you in developing your own character. After telling us that Lance Burton’s performance style and delivery is “laid back”, he goes on to Derren. [My comments are in brackets.] “Derren Brown has appeared countless time on television in the United Kingdom and has several west end productions to his name. [Now tell us something we don’t know] What makes him individual? [Aren’t we all individual?] He was the first magician to present mentalism in a way that really appealed to the intelligence of a modern audience. [Dunninger? Chan Canasta? Uri Geller?]” After a couple more sentences of stating the ‘bleeding obvious’ (“he is in a league of his own”) we are told that “when we think of Derren Brown we think ‘intelligent’” (although in a later chapter we are told that his “attitude is one of intelligence, and, to an extent, cleverness”). Do we? Enigmatic, manipulative, spooky, scary, unbelievable, unpredictable, are other words that might come to mind. I’ve illustrated the examples which the author gives principally in areas which I’m familiar with. But, to be fair to the author – and I’m sure many readers will think I’ve been rather unfair to date – he does touch upon many areas that I was unfamiliar with and new to me; suggesting plenty of techniques that I could perhaps apply to help my own act. However it is precisely in these unfamiliar areas that the examples of magicians applying these theories seem to fall by the wayside: there just aren’t any. So because I’m taking issue with him, or having no faith in him, or feeling he hasn’t properly substantiated himself in areas of technique that I have thought about, the chances of taking the leap into the unknown, and putting into practice his theories which I haven’t thought about, is minimal. I also have a more fundamental problem, which the author never addresses, that perhaps goes to the heart of the book and my critique of it. Are theories which work to better your acting technique really that useful to the majority of magicians? In other words, is it true, as the author unequivocally states, that if you “apply ... theatrical techniques to magic ... your magic will dramatically improve.”? I wasn’t convinced before and this book certainly hasn’t done much to alter my thinking. The main reason for my own scepticism was succinctly put by someone, who I very much do respect, and who has both acted and performed as a magician. He said that there isn’t a great deal of overlap between the theory of theatre, and the theory of magic because actors talk to each other, whilst magicians talk to the audience. In other words, as a magician, you are very much participating in the real world, interacting in real time. As an actor you are having to live and create your own world. So when Performing Magic tries to tell me about acting techniques and relaxation exercises that the likes of Stanislavski and Rudolph Laban (who believed every single human movement can be defined in terms of three motions: space, time and weight) apparently applied so successfully – and insists that I should give them a go myself to become a better magician – I’m crying out for examples from magicians who have done just that. Where are Derren Brown or Lance Burton when you really need them? I’ve already considered the first thirty pages of the book: but what about the book proper? As mentioned earlier, it is divided into three Parts. Part 1 of the book is called Foundation: this is because some basic tools are needed before we can progress further. The first tool is to ‘Be specific’, know what you are doing and where you are going. The next is ‘Circumstance’ – answering the W questions, such as ‘Who am I?’ ‘Where am I?’ ‘What am I doing?’ There are eight of those in all. This perhaps is where my scepticism that theatre techniques are really needed for magic starts kicking in. Do I really need to know ‘Where I have just come from’ or be fully cognisant of ‘Why am I doing it’ in order to execute a card trick? Nevertheless there are some good points made, such as comparing your own favourite effect with that of the audience’s favourite. The following chapter is on Character, a sujet I referred to earlier in this critique. It doesn’t take us much further than what has previously been written on this subject (check out Nelms’ Magic and Showmanship and I would further mention a great chapter in Expert Card Technique by Jean Hugard and Fred Braue called Presentation, which pretty much nails character for me). However, if you are unversed in the subject, you might find might find some useful pointers. The final chapter in Part 1, ‘Objective’, also provides some useful thoughts in order to know what direction you want to take your magic. In my view there is a danger of thinking too much about every step of your performing – rather than just getting on and doing it; but at least that is erring on the right side of getting your magic towards the best it can be. Part 2 is called Structure & Detail. The author stresses that you should know who you are, what kind of magician you want to be and where you want to perform, before you start to structure your act. This I would dispute. It’s only by trial and error and performing a lot in different places that you are going to develop as a magician and gradually evolve your persona. This happens alongside structuring your act, the two can’t be seen as independent of each other The author looks at what makes magic strong; ways of creating your act; and dramatic and structural tools that can be applied. After an ‘Introduction’, there is a chapter on ‘Strong magic’. Darwin Ortiz wrote an entire book with this title but there are some relevant points made here. Economy in routining is well illustrated (for once) with Sonic’s own handling of the Kennedy Mystery Box; but then he promptly undoes it in the next section by suggesting substituting a plaster or a bandage for a thimble in order to make it more “relevant and interesting for a modern audience”. Tell that to Duncan Trillo or Alan Hudson. The next chapter is just one page (another example of disproportionate chapter lengths) and is called ‘Structuring your act’. It reads as if it should have been the opening chapter to Part 2, saying at the outset “this is where the work really starts”. Once again the reader is left confused as to whether the author knows the route of the journey he is trying to take us on. The confusion is compounded by the first paragraph of the next chapter, titled ‘Ways in’. He writes, “If you already have a definite idea for your act, you may be able to skip the following section.” (In other words the work apparently hasn’t really started). Which section can we skip? Is he referring to the rest of the chapter or the next section? I think he means the rest of the chapter, because he goes on to write: “If you don’t, the following are a series of ways designed to free your mind and help you realise the possibilities available.” Anyway the chapter suggests various techniques such as theming your act, finding a hinge and bouncing ideas off others. It also includes the bizarre phone call – for that section you might be well advised to follow the author’s suggestion and give it a miss. The next chapter is called ‘Structural tools’ and some good points are made about structuring your act. However the vast majority of techniques discussed (the opening trick, segueing from one trick to another, having a hook, varying the act, use of the surprise etc.) has already been highlighted in other places in the magic literature. So, again, there is nothing much new here. Part 2 ends with the aforementioned The Changing of the Guard card trick, which the author states is put in “to illustrate some of the points covered in Part 2”. Part 2, though, has been about how to structure an act, not routining a single trick. So quite how describing the opening trick in his close-up act assists in illustrating the vast majority of the points covered in Part 2, I am at a loss to know. And of course it doesn’t. So, we come to Part 3, called Performance. This is by far the longest section in the book, coming to over 120 pages. It starts off with an introduction which is essentially a tirade against magicians generally. “The sad truth is that many magicians have no idea how to perform.” And he’s not just referring to amateurs but to those that call themselves ‘professional’. “I shake my head in despair when I see a magician that...has zero charisma” Apparently such magicians “like fooling others and climbing up the social ladder.” He goes on: “some magicians are scared of performing” whilst many “like being the centre of attention”. Having put the vast majority of his readers in their place, he writes: “Part 3 is what it’s really all about.” Hang on a moment, I thought Part 2 is where the “work really starts”. But no, we have now reached the point why we apparently bought the book in the first place. “In this section of the book I’m going to discuss what makes the difference between a good performance (which you now have the keys for) and an outstanding performance that lifts every fibre in the audience’s body. The focus on the moment of performance is what sets this book apart from all other magic literature on ‘showmanship’”. What he essentially seems to be saying is that everything you have read so far (that’s 160 pages, over half the book) has been written about before (which, as I have pointed out, is probably true). But it’s not exactly what you want to hear when you have just spent £69-97 plus shipping. Still, if he’s indeed going to tell me how to change my act from a good one to a great one (“that lifts every fibre in the audience’s body”) it’s still a price worth paying. The first chapter in Part 3 is ‘The Shell’: which I’m tempted to say is a load of nonsense. It’s about transforming yourself from non-performing mode to performing mode – including the advice of uttering a mantra. Just get out and do it is what my suggestion would be. But it might work for some. Fortunately this chapter is only two pages long. The next chapter is called ‘Colour’. I know, an odd name for a chapter. It starts off with three quotes (including one from Winston Churchill) about colour, to stress its significance. In fact, despite the rather pretentious title, the chapter makes some excellent points. It touches on your emotion and your attitude towards magic. It also stresses that when you perform the magic effect, an audience want to see the ‘effort’ you put in to achieve it – something that Derren Brown has written extensively about. There is a section on ‘Scripting’, a subject particularly dear to my heart; and the advice here is sound, although again not ground breaking (delivery comes down to timing, pausing and emphasis). Something that was new to me was relating how every line of script should have some sort of action attached to it: however even the author doesn’t seem overly convinced by this as he writes: “it is possible to ‘over action’ your script.” I know I have written an entire book on the subject, but using comedy or humour isn’t mentioned at all in this section – or indeed really in the whole book. Quite a major omission, I would have thought, if you are trying to transform yourself into a great magician. The next chapter is ‘Rehearsal’ and a thirteen step procedure is given for rehearsing. Some of these are really simplistic (for example ‘source props’, ‘master specific sleights’, ‘audience test individual items’) and I would guess the vast majority of performers would already do them automatically. My advice would be to read the chapter instead in Geoffrey Durham’s Professional Secrets called Practice and Rehearsal, which is far more insightful into the whole rehearsal procedure. After this comes ‘Presence’ and this is where using theatrical techniques to enhance your magic really kicks in. It could well be that this chapter is the key to the book; and if someone diligently applied all the suggested techniques it might well transform you into that elusive great magician – particularly if you are the type of performer who thinks that presence comes from “strong internal energy” and a “state of responsiveness”. But this is where my caveat, previously stated, most obviously comes to the fore: there isn’t one example in the entire chapter of anybody (including Sonic, Chris and Phil) using these techniques to enhance their magic. Indeed the only example is right at the end of the chapter, to illustrate that ‘less is more’, with Michael Jackson standing motionless on stage for a minute at the Wembley Arena – a musician, not a magician! The next chapter is ‘Key skills’ and it begins with a useful list of technical terms, such as blocking, upstage, downstage and other commonly used nomenclature in the theatre: in most books this would have been put in as an Appendix. After that are some basic stage practices, such as performing to the back of the room, not turning your back on the audience, the importance of sight lines, getting and keeping audience attention, vocal clarity (the author doesn’t seem to have heard of a microphone), maintaining relationships and dealing with volunteers. Most of the advice is good although, as already pointed out with his approach to hecklers, there are some stinkers. Then comes ‘A pictorial study of reactions’ (already touched upon), ‘Performance pitfalls’ – relatively basic, but possibly a useful check list – and finally ‘Continuing work’ (which again has already been mentioned). The final chapter is called ‘Conclusion’. This is essentially a reiteration of the ‘Introduction’; but rather than telling us what we are about to read, it tells us what we have read. But if he hasn’t convinced us by now of what the book is about, it’s too late to tell us again. The author’s final words are “magic isn’t about ‘tricks’; it’s about sharing an experience with other people.” Sadly this is not a book I would want to share with anyone. This has been, to say the least, a fairly excoriating critique so I think it’s only reasonable to say that somewhere in Performing Magic there is perhaps a book worth writing. Maybe Tony Middleton, in another ten years, when he has performed his magic in other arenas; directed a few more magic shows; worked with some other magicians, who he can also respect and admire, besides Chris Dugdale and Phil Jay; learnt how to layout a book; read a lot more; realised that over-hyping yourself and your product is counterproductive; and, above all, acquired some humility (trust me, your autograph isn’t worth £30), then maybe, just maybe, he will be in a position to nail his own theories to the wall and make us all better magicians. As it stands at present, Performing Magic will remain sitting on my shelf only in order to make the other books on magic theory look good.

Bonjour, Le jeu radio est devenu un classique des jeux ... disons spétiale Plusieurs personne en achète: Les débutants et les Amateurs avertis ( et pro, je les met ensemble). Il y a même certaine version qui sortent dans le commerce traditionnel. Je me demande alors, moi qui deviens de plus en plus puriste, si vous utilisez ce jeu. Il est vrai que les différents effets peuvent être assez clean et killer. Mais pas examinable. Ce qui ma toujours "choqué", c'est la façon si NATURELLE de montrer les cartes. Alors, en amateur averti,une routine avec jeu normal: carte ambitieuse, cartes aux nombre puis retrouvé de façon différente par le spectateur ( plusieurs forcages) pour finir au portefeuille par exemple. OU Un jeu Radio.

@Nicolas K et Hop, ta présentation est directement ajoutée à mes favoris pour me renseigner sur les différentes références dont tu parles @3draco **** dans la minute le livre était dans mon panier, mon portefeuille ne te remercie guère J'aimerais juste savoir combien de temps durent ce genre de promos (savoir si j'ai le temps de trouver autre chose à ajouter à la commande pour les frais de port)

@Christopher soit je suis trop fatigué, soit je suis pas assez bourré mais j'ai pas compris @Wuhna Si les livres de C. Chelman sont tels que tu les décris je suis fortement intéressé car couplés à des routines originales (et pas forcément de magie bizarre) j'espère pouvoir produire une atmosphère particulière autour de mon répertoire. En effet, au delà de quelques "tours" je cherche à monter un véritable thème autour des mes routines et même une "aura" autour de mon personnage... Je suis novice dans la magie en général mais devenir ce "personnage" est mon ambition à long terme. Ainsi je pense que lire les œuvres de Christian, même si elle ne m'apportent aucune routine exploitable, peut m'aider à définir qui suis-je, ou plutôt qui je compte devenir. @3draco Merci pour ta participation, je note ces références sur ma liste qui mine de rien commence à être sacrément longue J'avais déjà louché sur L'almanach à vrai dire^^ A défaut de trouver L'objet sur lequel je baserai tout mon effet, j'espère que les livres de Christian élargiront ma portée et ma créativité, bien que je ne sache pas encore exactement où je compte aller. Ceci dit, j'espère bien trouver une routine maîtresse ou un objet insolite sur lequel j'axerai tout mon futur répertoire (et je pense que des booktests, avec de solides connaissances sur le sujet sont des outils qui peuvent être incroyablement puissants si bien exploités (sur le même sujet il y a le Montdevergues qui m'a tapé dans l’œil)). Ceci dit je compte bien intégrer certaines routines qui ont déjà fait leurs preuves lorsque l'atmosphère était propice comme par exemple The Haunted Doll de Rogue. Ce que j'apprécie dans certains gimmicks est la capacité d'adaptation à différents thèmes. @Christian Chelman Tout d'abord une question qui m'a taraudée toute la journée : pourquoi CED ? (je n'exclue pas la possibilité que sous l'emprise du discours de mon professeur je n'ai strictement rien compris et que l'on parle de quelqu'un d'autre m'enfin bon je tente). Ensuite, plus je découvre l'univers du Surnatéum plus je suis admiratif et envieux de cet Univers. J'espère d'ailleurs avoir la chance de visiter le musée un de ces quatre. Concernant les routines, je ne recherche pas des tours prêts à l'emploi : je détourne d'ailleurs quasi systématiquement les textes des gimmicks que je reçois et parfois même leur fonction première pour les intégrer au thème qui me convient. Cependant, j'ai l'impression de manquer "d'envergure" dans la mesure où ce que je produis disparaît à la fin de ma présentation. C'est pour cette raison que j'espère réussir à mettre en place un univers plus concret et durable en m'inspirant (et non pas en copiant) des penseurs et acteurs de ce domaine de notre art. Le fait que la Magie Bizarre soit un "fourre tout" me réjouit dans la mesure où en grattant un peu les praticiens de celle-ci, j'en découvrirai de nombreuses visions différentes. @Chakkan Tout d'abord un grand merci pour le magigazine (et merci à Alexis) : je n'ai encore jamais eu l'occasion d'exprimer ma gratitude envers votre travail qui est et restera pour moi une constante qu'elle que soit l'orientation magique que je prendrai *le portefeuille non magique sort de la poche de Vexysles, lit ces lignes et pousse un râle de mécontentement à l'encontre de ceux qui l'ont par tant de fois poussé au régime* Merci pour les sources : je vais me renseigner un peu plus sur le travail de ces messieurs Pour conclure, je vous remercie pour vos interventions qui m'aident grandement dans ma réflexion et veuillez me pardonner si la moitié de ce que j'ai écrit est incompréhensible : il est tard et la journée fut éreintante^^. Je relierai mon post demain et me rendrai probablement compte que tout cela n'a aucun sens

Bonsoir tout le monde! Que vaut ce portefeuille comparé aux références de la catégorie (JOL pour la CTW...)? Amusez-vous bien si vous avez la chance d'être au Congrès Bonne soirée

SOURCE : Magiccafe Absolon, Karel: Street Magic. Lecture 23 pages includes Ring and Rope routines. Allen, Bruce: How Magic Works by David Williamson p 16 Hope On A Rope Andrews, Carl: The Strolling Magician: Includes: How to get into the business, How to introduce yourself, What material to perform, What to wear, How long to stay with a group, How much to charge. Effects (Performance only): Linking Rubber Bands, Ring on Rubber Band, Ring Flite, 2 Card Location, Card to portefeuille, Short Hop, and Teach a Trick. Annemann, Theo: The Jinx Summer Extra © 1937 by Theo Annemann (this issue of Jinx appeared between the June and the July issue of 1937) p 220 The spirit bracelet: this is Theo Annemann’s smart take on the effect where both wrists of a spectator are tied up by a length of rope with a ring hanging on to it. Not just the usual trick; p 465 Pretty Bauble Minoe This is one of those seemingly impromptu effects which can, in the hands of a capable performer, rival the famed and classical ring on the wand trick which has been in the repertoire of the world's best known sleight-of-hand artists. The performer shows a knotted loop of cord or narrow silk ribbon upon which a finger ring is already strung. A spectator unties the knots and removes the ring. Then he reties the ends of the cord or ribbon but without the ring which he hands to the performer. The spectator holds the knotted ends of the cord and almost instantly the ring is caused to pass back upon the cord. Everything is left with the spectator. The cord or ribbon is from 2 to 3 yards in length. Secure two fingers rings, exactly alike, which have a stone setting and which fit loosely over your third finger. String both of these on the cord and tie knots to form a loop. When the cord is displayed with a ring hanging on it the other ring is being worn on the third finger of the right hand with the stone turned inside towards palm. The fingers are kept curled. You hold the loop before you in both hands with the knots uppermost and the loop downward with ring hanging on it. The cord passes through the ring worn on the right hand, which, from back of hand. appears slain and attracts no attention. The knots are untied and the spectator removes the ring from the left (your left) end of the cord. You take it in your left fingers and ask him to retie the knots. Now there are several ways a performer may finish the effect. It can be done without covering by slipping out of the ring you are wearing and putting in its place the one given you, of course, with the stone turned inside hand. It is a bold move but the length of the loop plus the misdirection of the spectator tieing the knots sakes it possible. The alternative is to have someone throw a handkerchief or napkin over the hands for the operation. The effect is exceptionally good for night club table work because it requires so little preparation and no “refills” or bulky apparatus. (Note by Annemann: Why not have a long loop and while spectator holds reknotted ends put the loop over your head, turn your back, get the ring on and then turn around?) Avis, Jack: Vis A Vis © 1998 by Richard Kaufman. Houdini Ring Bagshawe, Edward. Novel Mysteries Part Three. Original Pocket Effects p 112 Threading the disk. The trick is probably an ancestor of the Jardine Ellis ring routine as it is a dark hexagonally cut piece of cardboard showing boxed zodiacal signs in a circle around its face and back. The hexagon has a fairly large hole cut into its centre. The effect is achieved thanks to a partial shell which is placed over the bottom of the hexagon. When a ribbon is placed over the disk, adding the shell makes it look like the ribbon has been threaded through the central hole. Dr Maxxam used a similar principle for his (now forgotten) linking ring routine. Interesting and original, the routine can include additional effects with moves invented later. Balzerac, Frank. World's Greatest Magic by the World's Greatest Magicians: The secret of Ring On Rope DVD The Puzzle Barnowsky, Larry: Kingdom of the Red. Wedding Ring Redux and Comedy Rope and Ring (Ch. 3) Comedy Rope and Ring: This routine combines some great ring and rope work with a logical and funny script. The props include the rope, 3 inch ring, blindfold, bell, and handcuffs. There are some well known moves and some original ones. The handcuff finale is outstanding. The routine is done initially solo and then you work with two spectators until the end. The moves are explained very clearly in the book but he shows them with different angles on the DVD. Excellent: a professional routine. Bauer, Ron: Private Studies Series #8: The Cursed Ring. Approach to the Ring Off Wand classic that doesn't require a wand. Twice, the performer's ring suddenly vanishes, then reappears on his finger. Bennet, Horace: On Your Feet p 13: Ellis Ring a New Beginning (reprinted in Close Up Files by Jerry Mentzer p 27); Improved Simplified Ring on Wand, and p. 25 My Jardine Ellis Ring Routine (reprinted in Close Up Files by Jerry Mentzer p 30), a routine which had appeared originally in a shorter and slightly different version in Jay Marshall’s New Phoenix (Sept 1955) and in Genii (Nov 1964). The props size make the routine perfectly adapted to the Dinh Van (famous jeweller) golden ring necklace (have your girlfriend carrying your props is cool). Bey, Mohammed [samuel Leo Horowitz]: Jardine Ellis Ring Routines Blaisdell, Dr. Frank: Just Ropes, Rings and Ropes, Rope Escapes. Preparation of the ropes, 14 Ring and Rope Effects, 3 chair escapes. & More of Magic (Magic Ltd.). Cups and Balls routine, Wandering Silks, Gone, Sexy Dollars, Wooden Egg, Cut and Restored String, Yo Yo Penetration, Ring on Rope, Solid Through Solid, Through Windows, Tectile Sense, Spirit Box, A Hunch, Snap-It, False Cut, Eight Kings, Red Your Mind, Perplexing, Three Rope Interchanges. Blake, George: Master Magic. 1974 by Hades Publication, includes ring and rope. Blay, Mark: Ring Scape Marketed Item © 2009 by Mark Magick Blay, a routine made of elements borrowed for a large part from Jay Scott Berry’s routine. Bordenave Richard. La fausse libération. Notes de conférence 1999 [Lecture Notes 1999] Shoot: Alcatraz trick: An original and very deceptive move. Bossi, Vani. Pabular p.381 Vani Bossi with two coins with hole and a string. Brooks, Robert L. Apocalypse Vol 3 No 10 Oct 1980 p. 399. Ring Through Rope: borrowed ring from rope, one method. Cervon, Bruce: Hard-boiled mysteries. 192 pages. 52 effects including lots of cards as well as Ring Again! ring off rope routine. Chazpro: Gemini Ring: A variation of the Jardine Ellis Ring. Machined from black plastic, and designed so you can flip the ring without revealing the secret. Plastic makes for nearly silent, scratch free use. Effects include Ellis Ring standards like Ring Off Rope and Ring Off Wand, plus Chuck Leach's multi-phase routine Get Loopy. Clifton. Earl Nelson’s Art of Close Up and in French Revue Arcane The Clifton move or « Clifton Steal » is the most frequently used by French magicians to vanish a finger ring on a string. It is easy to perform and remains one of the best sleight for this effect. Close, Mike: Workers 2. Ring Shoelace & Workers the video. 100 minutes. Dr. Strangetrick; The ring and shoelace routine. Colombini, Aldo: Ringing Around Too! Five phase routine: A knot appears on the rope; loop penetration; almost visible melt-through; ring is placed onto a rope which has a knot tied in it; Suddenly the ring appears tied inside the knot! The ring is removed leaving the knot on the rope! World's Greatest Magic by the World's Greatest Magicians: The secret of Ring On Rope DVD. & Impact 1991 Hades Publications. 145 pages, Spiral bound. Collier, L. C.: Big Ring On String © 2003 by Lybrary.com A parlor sized ring with a stage sized routine. This is a compact ring and string routine which uses some of the most visual moves one can do with these props. Collins, Stanley. Deceptive Conceptions In Magic p 42 The Tale Of Till: threaded coins with an extremely original approach; p 49 Bovine Bunkum. The old effect where a coin with a hole attached to a string retains the other similarly bored ones to fall from a lopped string BUT the lower coin is not attached but threaded in the loop making the feat seemingly impossible. Very smart and forgotten. Colombini, Aldo: The Close-Up Magic Of Aldo Colombini. 180 pages: 60 effects including Ringing Around. & Riging Around Too DVD When Aldo says that he has improved the effect by taking things off and adding things, we can believe him. This routine is much achieved Copperfield, David: Copperfield Little shoe © 2002 by David Copperfield. This is a nifty version of ring flight where the ring is actually tied or appears to be tied to the lace of a mini Jordan basket shoe that he brings out from his back pocket, not on the ear on the shoe lace: we can see the lace around the ring and he is even holding the ring dangling the little shoe in air Courcy, Ken de: Gen Vol 15 # 1 May 1959 p 27 Ringappear: A ring appears in the center of a rope and the audience doesn’t know from where Cowl, Roy: The Magic Wand Vol XXXI N° 197 Mch May 1943 p 14 Wedding Ring And Ribbon: A finger ring off ribbon routine. Craven, Tom: Crowd pleasers. Video. A ring on string routine including Rick Johnson’s Quicksilver effect. Cyro: Gen Vol 15 # 2 June 1959 p 47 The Ceebee ring off string. A ring in a simple knot with the ends of the rope through a jacket is made free (duplicate in the jacket breast pocket and tied ring slid off the knot and dropped in inner pocket as the rope, after revealing the free ring, is pulled out of the sleeves with the knot still in the middle) Davenport, Gus: My Best Close Up Trick by Harry Baron. Lyndon Books (1954 circa). Ring on string, which was at the time the last word in cheek effect Daytona Magic: Ring & String: This is a quality-machined product made from polished aluminum. Because of the straight sides of the ring it is almost self-working. Comes complete with illustrated instructions DeCamps, Eric: The Magic Classics (re-release of Lou Tannen’s Stars of Magic video tapes). Features Classic Ring and String Routine. & Apocalypse Vol 4 No 8 Aug 1981 p 525 Impossible Visual Link: 4" ring or bracelet and cord or string DeSouza, Marc: DeSouza’s Deceptions, The Magic of Marc DeSouza by David Acer, 142 pages. Quad Ringle Plus. A borrowed finger ring frees itself repeatedly from a length of rope, at times unexpectedly, at times visibly, then finally, it vanishes, only to appear inside a card case that was resting on the table from the outset. Award Winning Close-Up Magic. Quad-Ringle Plus: The same multiphase routine. For the Climax the ring vanishes and appears inside a card case (rattle box), which has been in full view from the start (this Peter Kane idea could be adapted to a jeweler box with a lead rattling device under the silk or velvet part). Dobson, Wayne: Dobson’s Choice. Includes Ring Flash 2 where a borrowed ring melts into a chain and then the ring appears on the chain in a flash of fire. Dusheck, Steve: Coin and cord (Close Up Cavalcade Finale p 110) Can be performed with ring instead of coin. Uses a duplicate ring with a large slit and is performed with the rope tied up. Very interesting. The opposite logical approach to Tommy Wonder’s routine Dyszel, Mitch. Apocalypse Vol 4 No 3 March 1981 p 464 Easy Ring Off Rope: finger ring off rope or cord. Eggink, Peter. "EXIT" Marketed item. The performer borrows a key from a spectator and has it magically and visually disappear from his hands, only to be found CLIPPED onto a clasp on a lace, which is tied around the performer’s neck! It’s even KNOTTED right above it! The key is released from the lace and is given back the spectator! Yes, it’s the borrowed key, and it’s THAT direct! You can show both hands completely EMPTY before and after the vanish of the key. No duplicates. No switches. No sleight of hand required. Can also be done with a borrowed finger ring. http://www.magicmgmt.com/newmagicshop/featuredmagic.html Eldridge, David. David Eldridge’s ring and rope routine DVD. This is a KILLER routine from David Eldridge and Brad Burt has just finished the conversion to DVD. A 5-inch plastic ring, a length of quality rope, and a DVD with one of the most magical and deceptive conjuring routines ever. This is a multi-phase routine with VISUAL penetrations that puts spectators‘ jaws on the floor. Dave has been trying and testing this for nearly 10 years. The routine is IDEAL for ALL performing situations. Can it be done close-up? YES! Can it be done in parlour situations? YES! Can it be done on stage? YES! Can it be done surrounded? YES! Is there audience participation? Yes! This is simply a "Yes!" routine! This is the proverbial "Packs Flat, Plays BIG" routine. This is a terrific routine. Fedko, John: Fedko School of Magic Video Series 6 Rope Magic. Includes a Ring and Rope. Fields Sean. Northbound DVD. Sean Fields demonstrates and explains his ring to necklace routine. A borrowed finger ring vanishes and reappears on the necklace that the performer has been wearing all along. Produced by S/F Productions. Original release: February 2006. Running time: Approximately 44 minutes. Fleshman, Dan: The Commercial Magic of Dan Fleshman Volume 1. Sonata for Ring and String. Uses ring and shoelace. Fleshman, Dan: Excellence of Dan Fleshman. Features Double Sandwich, Switchbox, Sandbox, Back and Forth Sandwich, Momma In My portefeuille, Seing Double Switchbox, Transwitchposition, Miracle with a Signed Card, Triple Snap Change, Color Changing Deck, Coins to Glass, Coins to Purse, Bottomless Purse, Clean Up Spellbound move, Bottle Caps Across, Silver Flinger, Jokers Wild, Ring and String, A Shot for You, Cups and Balls with the Fleshman Flash. Flip. World's Greatest Magic by the World's Greatest Magicians: The secret of Ring On Rope DVD. The Wishing Well A borrowed ring vanishes and reappears threaded at the bottom of a string placed in an envelope Revue Arcane. Fraps, Thomas, et.al.: The Book, or Don't Forget To Point by Richard Kaufman. Ganson, Lewis: The Art of Close Up Magic Volume 1. Illustrated by Dennis Patten, Hardcover, 401 pages. With a foreward by Fred Lowe. p 34 Bangle Dangle: Presents ring and rope or silk routines; p 34 Bangle Delight (Frederica and Rink): A ring becomes threaded on a rope and is subsequently magically removed. Uses a 36" length of rope and a bracelet sized ring; p 39 The Travelling Ring (Raymond Hafler): Ring jumps from knot to knot on a rope. Same props as above; p 42 Ring Transposition (Glen Gravett): A red ring on a yellow ribbon and a yellow ring on a red ribbon switch places under a handkerchief. Uses bracelet sized rings, 38-42" ribbons, and a handkerchief; p 47 Two Rings and a Silk (Glen Gravett): A yellow and red ring are tied on a silk. The ring selected by a spectator is instantly removed. Uses just two bracelet sized rings and a silk; p 50 Ring, Rope, & Silks (Ravelle and Andree): Silks are tied to a rope and ring. The center of the rope is dropped into a hat, and the ring is dropped in. The ring is pulled out, and is linked to the rope; p 369 Chapter 15: Jardine Ellis Rediscovered; p 369 Jardine Ellis Routine (Horace Bennett): Solid ring sujets on and off a shoelace. Makes clever use of a finger ring for a surprising finish; p 374 Ken DeCourcy's Sheer Simplicity: Method for removing Ellis ring from a rope; p 375 Cylinder, Ring, and Cord (John Howe): Ring passes through a cord to appear under cylinder, then passes onto a wand. Two balls then appear from the cylinder. Inspired by J.G. Thompson Jr.'s routine in Top Secrets in Magic; p 385 Rope, Handkerchief and Ring Mystery (Ken DeCourcy): Handkerchief is tied to a silk rope and handed to spectator. A ring is vanished, and appears under the handkerchief; p 388 Tong's Trick (Horace Bennett): Ring appears on the center of a ribbon in two mysterious ways. Uses the Jardine Ellis Ring set in a different manner than usual; p 397 Ring Appear (Ken DeCourcy): Ring appears instantly on the center of a rope (again no gimmick required); p 400 Ringing the Change (J.B. Findlay): Ring vanishes and appears threaded on a napkin Garcia Frank. Observez, regardez, écoutez. (Observe, look and listen) Revue Arcane. 1986. and The Close Up Magic Vol II. After one or two classic effects, Peter Kane’s climax allows to find the vanished finger ring into the card case. An original click pass acts as a convincer. Garrett, Dan: CloseUp Connivery DVD. Faustus Ring. Two classic Ray Grismer unlinking (one with a presentation tip), then Dan’s smart way of linking the ring back in full view (allowing the already threaded ring to fall from the other hand). Consistent and casual. Notes de conférence Eurotour (Lecture Notes). The routine includes an excellent rethreading of the ring by the hanging lace in the opposite closed fist. A variant would be to retrieve the ring in woman’s well assorted rack. Gertner, Paul: Steel And Silver Video - Volume Two (video) Ring On Hourglass (Opening). Steel and Silver. 20 coin routines, 16 card routines, and the Steel Cups and Balls (uses steel balls), triple giant die production, ring on the hourglass (Familiar Ring?) Gloviczki, Peter: Lecture Notes 1985: The Magic of Peter Gloviczki. p 18 Variation on Anverdi's Ring and Rope Routine; Ring Off the Rope--Ring threaded onto rope, knot tied around ring, ring removed from rope. Govan, Barry: Barry Govan's Ring Link: Borrowed finger ring on rubber band. 16pg manuscript. Gravatt, Glenn: More Collected Writings of Glenn Gravatt (Magic Ltd.). Mentalism, coins, silks, ropes, ring and rope, cards, canes, dice, etc. Grippenwaldt, David; Fraternal Ring - Grippenwaldt and Wilson moves. Very good video. Grant, Ulysses Frederick: 45 Tricks © U. F. Grant, Nu Ring Off String Guha, Goutam: Tricks with the Jardine Ellis ring © 1997 by Sam Dalal, India. Grismer, Ray: Genii Magazine © May 1971 Ring is a routine for finger ring and lace & Close Up Cavalcade p18 also with finger rings & Loopy Marketed Item & Thru Video. One of the first moves with a finger ring and a shoe lace & RRRR (Ray’s Ring on Rope Routines) VHS the technique is great but Ray’s video was a good cure against insomnia Guinn, Scott: Great Scott! It's A Magic Lecture! Includes Great Scott's Symphony for Ring and String & My Best To You Vol 3 © 2009 by Scott Guinn, p 14 Jellis is a small act combining ring on string and ring on stick sequence with a C&Bs type of effect; p 26 Rings Off Rings On; p 31 Strung Out: p 46 (Stand Up) Rings Off Rings On Again. Hermalin. Workable Wizardry. This is the effect where holed coins are threaded and retained by the lower coin which prevents them from falling. The effect, achieved the same way, is still presented (with a ring instead of coins) by Eric De Camps in his ring on string routine Hollingworth, Scott: 14K Gold Ring and String: 4" Gold Ring repeatedly penetrates a red shoelace, even after the ring is removed from the shoestring. When the shoestring is knotted, the ring jumps magically back on the shoestring. Comes complete with high quality 14K Gold plated ring, Shoestring and photo instructions. Scott Hollingsworth Howie, John: Routines with the Jardine Ellis ring © 1955 by Magic Wand Publishing Co Hyans, Bob: Apocalypse Vol 3 No 7 July 1980 p.365: Ring A Ding. Finger ring off rope. Inzani. Remo: Ring on wand. The Gen Vol 13 Number 4 p 10 A magician explains. Remo Inzani was Eddie Joseph’s (very gifted) pupil. Ireland, Laurie L. Ireland writes a book © 1931 by Ireland Magic Co, Contents include Ring the Ribbon. James, Stewart: The Jinx issue #69 © Dec 2, 1939: Sefalaljia is a close-up one man spirit cabinet routine developed by Stewart James: the name comes from the way the word Cephalalgia (medical term for a big headache) is pronounced but the "C" was changed to "S" and the "G" to "J" (Stewart James initials). This small spirit cabinet includes Ring On The Tape: In each end of the box is a hole. In the center of the hinged lid is a screw-hook on the under side. A length of white cotton tape is folded in half and another spectator places a safety-pin through the tape about an inch from the doubled end. The tape is now threaded through the box with the ends protruding out of the holes. Someone in the audience lends a finger ring and it is hung onto the hook inside the box which is turned with curtain side away from audience. A volunteer grasps one end of the tape and draws it from the box. The borrowed ring is now threaded on the middle of the place by the pin. The ring, still on the tape, is returned to the owner and the volunteer allowed to examine the cabinet & Annemann's Practical Mental Magic & Stewart James in Print - The First 50 Years p 187 Sefalaljia & The Essential Stewart James Sefalaljia Johnson Products Jardine Ellis Ring Marketed Item gimmicked ring allows ring off rope, ring off wand effects. Johnson, Roy: Supa Rings Video Uses 3 bangle bracelets and two cords. 45minutes. Includes Roy Johnson's version of Anverdi's Rope Through Borrowed Finger Ring & Third Dimension © 1977 by Goodliffe Publication p 32: Ring ‘N Rope. As always with Roy the routine is the one of a worker Jordan, Charles T.: Ten New Miscellaneous Tricks © 1920 by Charles T. Jordan, Penngrove, CA p 5 A New Ring Release Kam, Kurtis: Kurtis Kam's Deceptions in Paradise Video. Finger Ring and Rope routine. Kaps, Fred: Magic Circle lecture audio tape. Ring Through Silk; Ring Off String. Kreis Magic Hexagonal Ellis Ring This is an improved Ellis ring. Cross sectional shape is hexagonal. So Magician can show both side of ring. This ring has many possibilities. Comes complete with 2 hexagonal ellis rings (one gimmicked), rope and an illustrated instruction sheet that includes web links for additional performance and explanation video clips. www.MJMMagic.com Johnson, Rick. Close Up Cavalcade p 34. Quicksilver. The ring is made to rise and penetrate the rope. Kaplan, George G.: Ellis Ring on the thumb. The fine art of magic 1948 . Kaps, Fred: Kaps on Coins. 11pg. 12 routines: Edward Victor's Spellbound, Okito Box Routine, Coins Across, Silver & China Transposition, Hooked Coin Routine, Coin Thru Hand, Coin Vanish Under Card, Ring Off String, Coin Thru Handkerchief, Twin Coin Production from Card, Coins Thru Table, and Another Coin Vanish under card. Lacerda, Pedro. La bague sur la cravate. (the ring on the tie) Notes de conférence Eurotour (Eurotour Lecture notes by the well known Portuguese Magician). Wonderful in Pedro’s hands, but not such an easy effect to perform. Laconte, Jim. Apocalypse Vol 3 No 12 © Dec 1980 p 429 Escape!: Large ring or bracelet off rope presentation. Lefler, Mark: Apocalypse Vol 7 No 7 © July 1984 Challenge for two. a different approach with a borrowed ring and a small gold chain. *** Leveridge, Mark: Master Routine No.4 © 1986 by Mark Leveridge, The Ring Competition is ideal for cabaret as well as close up. A ring and cord routine with audience participation. 2 booklets (one for the text and one to follow with the photographs) & Master Routine No.6 © 1987 by Mark Leveridge, Ring and String Routine. This is Mark Leveridge's award winning routine using a borrowed finger ring and a shoe lace. Natural moves create a strong visual effect. Booklets only & Mark Leveridge Master Routines - Master Routine #4 DVD The Ring Competition. Ring on rope using a length of rope and a 5" chrome ring plus some amusing audience participation & Mark Leveridge Master Routines - Volume 2 Video: Master Routine #6 - The Ring and String Routine. Four strong ring on/off moves using a finger ring, which can be borrowed, and an examinable shoe lace. No duplicate rings used. & World's Greatest Magic by the World's Greatest Magicians: The secret of Ring On Rope DVD Mark Leveridge Magic 2 booklets with chrome ring and cord Lorayne, Harry: Apocalypse Volumes 1-5. Includes several ring and rope, ring and string routines including: Sol Stone: Strung Coin; Jon Brunelle Strung Too, Bill Wisch Chain®ing; McGivern (Ring)Knot Really; Robert Brooks Ring Through Rope and Ring Strip; Warren Stephens Bnagle Dangle; Eric DeCamps Impossible Visual Link, Mitch Dyszel Easy Ring off Rope, Oscar Weigle and Sol Stone Off Again, and Jack Mitzman One Handed GH Release. & The Magic Book. A sound description of this impromptu trick, freeing a ring under the cover of a handkerchief. Lorayne, Harry: Apocalypse Volumes 6-10. Includes several ring and rope, ring and string routines including: Peter Samelson Ring True, Tony Miler In-De-Pendant, Tom Craven New/Easy Ring Load, Mark Lefler Challenge for Two, Jack Mitzman Ring on Rope, Fred Baumann Steal Ring, Mark Sicher Through the Rope, Dr. Rajneesh Madhok The Uncanny Penetration, Eric DeCamps Snap Finger Ring Link, Gary Ouellet Boomerang (from Homing Ring). McAllister, Bob: Ringo. 3" metal ring is threaded onto a shoelace. The ring is swung, and then plucked right off the ring. Virtually self-working. Comes with ring, very special shoelace and the full routine. McDonald, Dr Dan. Close Up Cavalcade © 1973 by Jerry Mentzer p 11 Madhok, Dr. Rajneesh. Apocalypse Vol 10 # 5 © by Harry Lorayne p 1350 The Uncanny Penetrating Finger Ring. MagicSmith Full Circle. Combo of Professor's Nightmare, visual rope moves, and solid ring effects. With rope, ring, and video. Marcus. Triple libération d’une bague (Triple freeing of a finger ring) Revue Arcane n° 10 December 1977. Ray Grismer and Scott York technical explanation. Good bibliography for the time with numerous references. Marini, Vinny. The Godfather. The Ring on the Flying Trapeze Marlo, Edward. Marlo without cards video Radio Prim. Marotta, Rich. Rich Marotta’s Comedy Magic 3 Volume DVD Set. Vol 2 includes Ring & rope & Poor Man’s Ring Flight ». Notes de conférence Eurotour (Eurotour Lecture Notes). A borrowed ring penetrates a rope in different ways. For the climax the vanised ring ends up on a finger in a box (the magician’s middle finger:Gag). The old gag where the bottom of the box has a hole allowing the finger to pass through it. Marshall, Jay: Jinking Rings © by Magic Inc., Here's a taste- Sample effect: Spectator sees two solid rings. A ring is threaded on a rope, spectator holds both ends, and performer removes ring under a handkerchief. Both rings are put on a pencil, spectator holds end of pencil, performer takes off one ring under cover of a handkerchief. Spectator's wedding ring is threaded on a rope, rope tied into a loop with Jinking Rings at each end for spectator to hold. Performer removes the wedding ring, with spectator holding everything securely tied. For a finish the rings are joined together. Instruction book contains over a dozen tricks to blend into routines, plus Marlo's Subtle Special. You almost surely have an Ellis Ring among your props, now here's how to get the most out of it. Martinez, Daryl. World's Greatest Magic by the World's Greatest Magicians: The secret of Ring On Rope DVD & Fooler Doolers DVD #3 & Greater Magic Video Library #7 - Daryl DVD Mentzer, Jerry: Magic With Finger Rings. A collection of effects with borrowed finger rings. Over 25 effects. Miller, Bob: Relentless Ring & String Routine video and book. Multi-phase routine includes four methods to put a ring on the string, the Fisher Ring in Knot Production (ring appears in a previously tied knot), four methods to release a ring, 2 tricks with a shoelace, 2 with just a ring, and more. Includes illustrated book. Millidge, Bertram : Unconventional Magic by Lewis Ganson. New move with the Jardine Ellis Ring magic. Also two splendid penetration effects using an ordinary ring and ribbon or silk. Mitzman, Jack. Apocalype Vol 4 No 10 © Oct 1981 p 545 One Handed GH Release: release of large ring from rope (2-3" ring or bracelet) Nelson, Earl: Variations ©1978 1st Edition by Earl Nelson, Mark Wilson Publications; Revised (Second) Edition 1979, p 18 Section Three - Finger Rings Two now classic 'moves' with rings. If you've seen anyone do a finger ring and cord routine you've almost certainly seen both of them; p 19 Clifton's Ring Move: The ring is threaded on a cord, held in the hand and the cord is wrapped around the closed fist that holds the ring. In spite of this condition the ring appears on the fourth finger of the other hand; p 20 Earl's Ring Move: A very fair threading and display sequence. Nyquist, Charles W. Jinx p 471: Sefalaljia & Phoenix. p 89 Sefalaljia Jr & My Best by J. G. Thompson Jr. 1945. Sefalaljia III the same without safety pin or handkerchief Ouellet, Gary: Masters of Magic Series # 6. The Homing Ring. Ring-off-rope routine done with a borrowed ring and an ungimmicked rope. 28 pages. & Boomering. Apocalypse Vol 10 # 8 p 1387. Page, Patrick. Pat Page's Secret Seminars Of Magic 6 Volumes DVD Set. Pat Page's Rope Magic is covered in Vol 4 Patrick Page Rope Magic Video Includes Rope & Ring Routine with Ring On Rope Move, Ring Off Rope Move, Rope Through Ring. Porper, Joe: Wedding Band Ellis Ring Marketed Item © 2009 One of the true classics in the world of magic is the Jardine Ellis Ring. The basic concept is a metal harness ring with a fitted shell. Joe Porper has taken the principle of the Ellis Ring and made a precision version using a man's wedding band. Available in Gold or Silver plate, each ring comes with complete instructions for several routines unique to this size ring. Many of the existing Ellis Ring effects are possible with this set. Little has been published recently, but one of the classic publications is John Howie’s fine book, Jardine Ellis Ring Magic. Copyright for this book belongs to Martin Breese, who has allowed Joe to re-write and publish material from that book . Available in Gold or Silver plate, please specify color at time of order Prunty, Gordon: The Gen Vol 25 N°12 p 334 The Ropes and Rings Reymond, Patrick & Sanders, Richard. Interlace © 2006 by Camirand Academy of Magic inc. Canada A borrowed finger ring vanishes to reappear on the tied shoelace on a shoe. Not for stiff back magicians. Richardson Barrie: Theatre Of the Mind © 1999 by Barrie Richardson, Hermetic Press, p 139 A String And Two Borrowed Rings Rink [J. Van Rinkhuyzen]: Rink's Magic From Holland © by Hugh Miller, Magic Wand Publication, features Ring from Ropes (large ring) and Stringing the Ring (finger ring) & Rink's Rope and Rings. Harry Stanley, London, n.d. 32 p. Rosenthal, Harvey: Melt Thru. livret. Ryan, Jim: Sensational Stunners One livret Samelson Peter. Apocalypse Vol 6 No 3 © March 83 p 749 Ring True involves a borrowed finger ring off string and offers a beautiful sleight. The ring is seen threaded on the lace up to the last moment & Apotecari Magic Magazine. French translation by Armand Porcell in the magazine Sanders, Richard: Fiber Optics Extended DVD. Rope 7 routines 32 hyper visual rope moves plus Hyper Ring the visually impossible ring and rope routine & Interlace Marketed Item DVD + Gimmick. Borrow any finger ring from any spectator, wave a lighter under it and it's gone! The spectator looks down at your shoe and now, hanging from the loop of your shoelace is their borrowed ring! The ring is untied and slowly pulled off of the lace and given back to the spectator...no switches, no duplicate rings, no pulls or reels, and totally Angle Proof. Sankey, Jay: SankeyTized 1 VHS. Flying Shuttle Pass/Production; Sterling Silver impromptu ring on stick routine using borrowed ring and spoon; Back in Time in-the-hands triumph; Hop Spread Flourish; Top Card & Rubber Rise; Bound to Fool; Collect Me Not....Again; Leaving Home; Floater; Illogical Shuffle; Wichita Slip. Schneider Al. the Al Schneider Technique Vol 2 DVD: Off. A repeat effect in Rene Lavand style (but not with as nice a patter) where a signet ring keeps getting off a rope but a dramatic lack of climax after such a perfection. Scott-Berry, Jay: European Stars of Magic © 1989 (circa) by Georges Proust. The routine with its very spectacular climax of catching a spinning ring with the hanging center of the rope & Ring and ribbon Sheridan, Jeff: Original Magic. Instantaneous Ring on Ribbon Shoesmith, Tim: Fountains and Acorns for big people © 2006 by Lybrary.com includes a ring on string routine Sicher, Mark. Apocalypse Vol 10 # 5 May 1987 p 1348 Through the rope: a finger ring jumps on a rope Skinner, Michael: Skinner's Classic Teach-In Volume 3, The Ring on Stick. Two commercial routines. Slocombe, Rex: Hugard’s Annual 1938-1939 © 1939 by Jean Hugard p 88 Shoelace That Stretches to Twice its Length: this was used as an interlude by Rex Slocombe for his ring on the string: the shoe lace is simply doubled into itself initially. Solari, Bob: Ring Rapture: Man's gold tone black onyx ring is touched to a gold-tone necklace and visibly melts onto the necklace. All can be examined. Neither the ring nor the necklace are gimmicked. The only way to remove the ring is to manually unclasp the necklace & Solari: Live In Your Living Room 2 DVD Set Rapture: visibly melt a gold ring onto a gold necklace right in front of the spectators eyes. Stephens, Warren. Apocalypse Vol 4 No 1 © Jan 1981 p 441 Bangle Dangle: ring or bracelet on ribbon is cut off, but ribbon is whole (Clippo) Lee, Hank: Swing A Ring Marketed Item © by Hank Lee Two rings are fairly threaded on a shoelace. One of the rings is magically removed, leaving the other swinging from the lace. Give the lace a little swing, and the solid metal ring visually penetrates the lace and falls to the table, and more. The rings and shoelace may be examined. Comes with metal ungimmicked rings, lace and easy-to-follow instructions. Tabary, Francis: Greater Magic Video Library Magic from France © 1991 Ring Master - moves of Francis Tabary: Rope magic. Taytelbaum, Eddie: The Gen Vol 13 Number 6 © October 1957 p 167 Everyting is borrowed Taylor, Franklin: The Fine Art of Magic by George Kaplan The Jardine Ellis ring on thumb. Tremain, John: John Tremain: Volume Three - Encores. Includes: Ring on Rope: Finger ring and rope; odds Advice on Close-Up Act, Close-Up Set Up and Tremain Prop Box. Trixer, Hans E.: Conjuring Trix and Jardine Ellis Ring Effects © 1955 by Magic Wand Publishing Co, Several effects using a Jardine Ellis ring Tyler, Diamond Jim: Pockets Full of Miracles: Secrets from the Repertoire of a Professional Close-Up Magician. Finger Ring and String: A borrowed ring is made to vanish and reappear again repeatedly. Vallarino, Jean Pierre. Notes de conférence 1992 [© 1992 Lecture Notes]. La corde et la bague [The Rope And The Ring]. Very pure freeing of a finger ring threaded on a rope. The cord and the ring & Close-Up Man Lecture ‘93’. An impossible penetration of a finger ring through a piece of rope Vergilio, Ron: Offring © 1976 manuscript: A borrowed ring with length of rope. A spectator sujets the ring onto the rope himself. He places the ring on the performer‘s open palm. The performer closes his hand and turns it over. You ask the to take the end of the rope, one end in each hand (You do not hand the ends tot he spectators). Spectators stretch the ropes out and the performer places the ring in his other hand which then places the performer‘s hand under the rope. The performer slides his hand back and forth a few inches while pulling down slightly. He then releases the rope and slowly open his hand. The ring is off the rope and in his palm. Viking Manufacturing Company: Jardine Ellis Ring Marketed Item In Brass and as from 2009 a 24 carat gold plated version allows presenting the ring as a necklace centre piece. Wessel, Willi: Close-Up Ring and Rope Routine. Ring Routine: Seven effects, 3-5 minute routine. Ring seems to melt through the rope. 12 page livret, and video. Taught by Joachim Solberg. Comes with specially-made 4" chrome plated steel ring, soft white cotton rope; livret & Close up ring and rope routine. (video ****) Willmarth, Phil: The Ring and rope A very thorough work with a large ring and a rope Wilson, R. Paul: The One True Ring This is Paul’s professional Ring-on-Wand routine using a Jardine Ellis Ring. A solid ring passes visibly onto a solid wand then pops right off before their eyes. The audience actually sees the wand pass straight through the unbroken ring. Finally the Ring penetrates the wand in their hands. Looks like real magic and everything can be examined at the end. Includes a special bonus effect with the ring. Suitable for close-up, parlour and walk around. Wilson, Greg: Ringleader Video. 6 phase ring and string routine. Familiar ring - The classic moves that started it all by such notables as Ray Grismer, Scotty York, Earl Nelson, Jay Scott Berry, Dan Garrett, and others. Gregory Wilson’s Ring leader. DVD. Very entertaining with a finger ring and a lace or ribbon Wish, Bill: Apocalypse Vol 2 No 10 Oct 1979 p 257. Chain®ing.: finger ring magically threaded on a small chain. Wonder, Tommy: The Books of Wonder Vol II © 1996 Hermetic Press p 161 Colors Three And Through

@Jayce: dans une boutique proche de la tour effeil, ma copine a fait l'achat du jol et il était fourni avec l' ID Cade (en cuir) et le dvd (on peut en reparler...) @Magicfan: Heuuuuu?! Serait-il possible d'avoir des références pour la boule de billard au portefeuille avec le jol? Merci d'avance. @Stundere: tu ne peux pas faire mettre (par une couturière pro) une fermeture qui ne gênera pas le "fonctionnement"?

Vos réponses sont vraiment passionnantes, Je remercie d'ores et dejà tout le monde. Je comprends que l'envie de glisser vers les cartes au portefeuille soit tentant, mais -et c'est pour cela que j'avais tout d'abord posté en VR- que la "technique/gimmick" est/sont basé(s) sur des principes différents, que je ne voulait pas mélanger. J'avais prévu de limité (au début du post") au versions VENDUES, mais si vous voyez des références pertinentes dans les DVD... I'm open -à çà uniquement ! Ce qui amène par exemple: Bob Kohler - Black Enveloppe, la routine de carte ambitieuse de T.Wonder (mentionné par Roland B). ET POURQUOI PAS des références dans les livres, et revues... ce qui me permet de reparler d'une routine que j'ai déjà évoquée ici: OZ DEPOSIT - J. BANNON in "Smoke & Mirrors" (bienq ue plus proche d'une carte au portefeuille... je sais je me contredit... mais c'est mon post... !!! mdr ) Merci. M.M: pas de soucis, je ferai un topo d'ici quelques réponses, en identifiant les différences, et ce que j'en ferai. Roland B "la routine de David Stone avec le téléphone" = CELL

C'est bien connu, Gilbus, qui n'est même pas magicien, est le type de mauvaise foi par excellence. Ses soi-disant conseils, sont justes là pour le mettre en avant. Ne suivez aucune de ses recommandations sous peine de faire une magie de bas niveau ! Je savais qu'avec mon histoire de chambre à repeindre il y aurait des mauvais coucheurs. Mais comme (pour une fois) il à fait court, je vais lui répondre sans me départir de mon calme. Pour la couverture, je me suis inspiré d'une couverture 100% pur laine existante, en ayant changé le graphisme, les couleurs et la police. Sur la quatrième de couv, est imprimé en petit et sans le faire exprès (?), le nom d'une marque bien connue de tous. vous savez les trois mecs qui se peignent dans le dos! Bien vu sur les couleurs mixées. En effet la plupart (voir tous) les nuanciers ont les couleurs ordonnées par familles depuis les teintes chaudes vers les teintes froides ou réciproquement. Je les ai mélangé car : petit 1 je ne veux pas que mon spectateur essaye de s’arrêter dans une gamme donnée qu'il aurait repéré de face. Petit 2 pour montrer (comme tu l'a dis) les couleurs suivantes et précédentes franchement différentes. On perd en réalisme ce qu'on gagne en netteté. Seul un expert en bâtiment, un pov' ouvrier qui n’a pas fait d'étude pour faire autre choses, pourrait faire la remarque. Et encore, mon fournisseur de peinture n'y à vu que du vent après m'avoir fourni sous la menace de ne plus travailler pour ma collectivité une cinquantaine de vrais nuanciers. ( ) C'était à l'époque de la version Alpha. Et sachez encore Mossieur Gilbus, que les références sont bien là. Elles sont d'ailleurs utiles car elle peuvent également servir pour forcer un nombre par exemple, ou une page d'un livre. (deux choses forcées pour un seul choix ) De plus elles sont un aide mémoire pour indiquer dans quelle partie du portefeuille (qui est honteusement non gimmiké) il faut aller chercher une des 130 sorties possibles (imprimé sur du papier bible glacé). Ne cherchez pas plus loin, cher mauvais coucheur, le truc à été pensé. Sans compter ce que vous ne savez pas et que je n'ai pas dis. Mais je serais magnanime, que cela vous serve de leçon !

Ce n’est pas terrible : Il n’y a pas de paillettes ni de glimer, le portefeuille n’est même pas truqué, et quelle est la justification pour le faire en table à table, hein ? En plus, à moins d’avoir une chambre à repeindre, ce n’est pas utilisable. Je ne comprends même pas que tu nous montre ça. Ben oui, un truc comme ça, ça se garde précieusement, sinon, une meute de magicien va le copier !!!! Félicitation, c’est très chouette Bon, je vois au moins 2 ou 3 façons de le fabriquer, bien entendu, vu que c’est un peu un hyper classique. Mais c’est tellement bien revisité que ça renouvelle l’effet, clairement Je ne suis pas spécialiste, mais les vrais nuanciers n’ont pas les couleurs triées par couleurs, justement ? Bon, c’est juste une remarque, vu que tu es obligé de mixer les couleurs dans ta version, pour montrer celle d’avant et d’après. Je ne pense pas que quelqu’un qui ne soit pas très branché peinture remarque cela… Pour la couverture, tu as pris une authentique couverture de nuancier ? Ou tu as imprimé comme le reste ? Et dans un nuancier, il n’y a pas de références dans la marge, pour indiquer justement le numéro de la couleur ? Je ne vois pas cela sur ton modèle… Mais je me trompe peut être (ça fait longtemps que je n’ai pas eu de nuancier entre les mains ), ou cela faisait peut être un parasite visuel que tu as supprimé ? Bref, quoi qu’il en soit, bravo, c’est très chouette ! Gilbus

En effet, un grand Merci pour CR rapide ! J'aimerais juste rajouter un petit quelque chose concernant la magie des élastiques. Elle fait partie des styles de magie très pratiques que nous pouvons faire partout et tout le temps. Il suffit d'avoir 2-3 élastiques autour du poignet, dans son portefeuille ou d'en emprunter et hop, vous êtes parti... En choisissant bien ses effets d'élastiques, il y a moyen de vraiment monter des routines très fortes aux yeux des gens (cf routine commerciale du DVD ou extrait montré dans notre vidéo de présentation (voir sujet étagère magique)). Par expérience, nous ne commençons/finissons pas une table par une routine d'élastique mais cela convient parfaitement au milieu de votre set de close-up. C'est également très facile à suivre lorsqu'il y a des enfants à une table. Au lieu de faire une routine entière d'élastique, il est également possible de n'y insérer qu'un ou deux effets intermédiaires. Par exemple, j'utilise très souvent la transformation d'élastique en Bic lorsque j'ai besoin d'un bic pour une routine. Cela n'inclut pas une routine entière mais juste un effet et je pense qu'il y en a des tas dans ce DVD. En dehors des situations professionnelles, la magie des élastiques est vraiment excellente car très simple à réaliser. Vous pouvez aussi vous tourner vers la magie des chouchous (cf Christian Girard). Concernant les musiques du DVD, nous en profitons pour remercier "Antidot" qui a réalisé 95% des musiques spécialement pour ce DVD ainsi que les "Kennedy's Bridge" qui ont également contribué à la création musicale. Tant que nous sommes dans les remerciements. Merci à Marc Decoux pour son excellente prestation / à Chrisitan Girard, Sylvain Mirouf et autres pour les références / merci à toutes l'équipe de tournage et tout particulièrement à Edouard Boulanger (mais si Joke, vous vous souvenez ???) qui à fait un travail de titan ! Et tous les autres qui ont permis la sortie de notre nouveau bébé. Les premiers envoies de DVD sont partis il y a quelques jours, d'autres retours ne devraient donc pas tarder ... Clément !

Bonjour, J'aimerai, avec votre aide, recenser les effets réalisables avec un jeu de carte et un Portefeuille Himber. Je commence: Changement de couleur Carte(s) choisie(s) qui voyage Prédiction ... D'autres idée ?

Nourdine La magie en restaurant 216 pages format, 17 x 23,5 cm Edition à compte d’auteur, 45 euros (+ port) [email protected] « De la théorie à la pratique, il y a un monde. Tout ce qui figure dans ce livre ne relève pas de considérations purement intellectuelles, je vous livre ici une méthode qui fonctionne. » J’ai choisi cette citation de l’artiste pour débuter ce compte-rendu car elle donne le ton exact de son ouvrage. Nourdine a maintenant une double réputation dans le milieu magique : sa compétence et sa générosité sans limite. L’ouvrage qu’il nous offre procède de ces deux pôles, d’abord parce qu’il est le fruit de plus de vingt ans d’expérience professionnelle ininterrompue, ensuite parce que tout je dis bien TOUT ce qui est nécessaire, de l’indispensable à l’anecdotique, à la pratique de cette discipline particulière qu’est la magie en restaurant est traité par le menu. Cette œuvre de l’esprit est un don, une perle de bibliothèque, que dis-je, un trésor destiné à devenir, inévitablement, l’un des livres de chevet de tous les aficionados de l’illusionnisme exerçant de table en table. Tout ce qui a rapport de près ou de loin avec la pratique de la magie en condition réelle et en restaurant est traité par cet expert du genre avec un souci exemplaire du détail. Un argument d’autorité imparable pour étayer ces assertions est le panel de personnalités de pointe entourant l’auteur tant dans sa vie professionnelle ou privée que pour la création de cet ouvrage. Une préface du monumental Jean Faré en est déjà la première preuve. Jean, qui pour Nourdine est un référent et ami depuis une dizaine d’années, affirme : « Ce magicien sait de quoi il parle. » Je confirme ! Historique Après une carrière qui l’amena à travailler tout aussi bien dans la rue que dans les trains, en gala, sur scène, en close-up, en magie pour enfants ainsi qu’en toute situation imaginable pour un magicien voulant vivre de sa passion, Nourdine a accumulé une somme de connaissances que seule une si riche expérience peut apporter. Ce savoir pratique, il a voulu le partager avec la communauté magique. En 1994, une première rédaction d’un recueil vit le jour sous les auspices de Laurent Vadel (une autre référence, magicien et traducteur d’Ascanio). Laurent me refila ensuite le bébé qui était déjà bien avancé, mais l’ouvrage se révéla si dense que nous décidâmes Nourdine et moi d’en extraire l’une des parties, celle traitant exclusivement de la magie en restaurant. Ivan Laplaud (troisième référence, rédacteur de plusieurs livres de magie et Président du club Les Amis de la Magie) prit cette portion en charge ; c’est donc le résultat de son travail qui vient d’être édité. Nourdine et Ivan décidèrent d’inclure aux remarques et conseils d’ordre général une multitude d’effets réalisables en conditions professionnelles afin de répondre au désir légitime des lecteurs d’avoir des applications magiques précises. L’ouvrage est composé de trois parties principales. D’abord, l’essentiel, à savoir tout ce qui concerne la profession indépendamment des secrets magiques : Comment négocier des contrats dans des milieux dits populaires ou autres, l’approche commerciale, le démarchage, quels restaurants et comment ?, les premiers contacts, l’argumentaire, les dates et les fréquences des prestations, les tarifs, le prix exact des cachets selon les types de soirées, les contrats, la publicité, les affiches, les supports marketing (fabrication et utilisation), les journaux, la préparation, le rapport avec le personnel de la salle, le repas, le trac, la tenue vestimentaire, la symbolique des couleurs, la prestation elle-même, l’attitude, la magie appropriée au contexte, l’adaptation aux contraintes, la « scène » au resto, la première table, l’entrée en matière, l’environnement, tapis ou pas tapis, la propriété privée, les casse-pieds, l’image de soi, le pourboire… Nourdine livre donc tous les éléments susceptibles de créer sa propre concurrence ! C’est fou, mais c’est sa façon naturelle d’être généreux et de partager son savoir. La seconde partie est composée de tours complètement adaptés à la magie en restaurant, tous faisant partie du répertoire professionnel de Nourdine, tous testés, rôdés et ciselés par des années de pratique, et tous livrés ici en raison de leur impact sur le public. Les tours, tous construit pour répondre à cette exigence : les spectateurs sont attablés ! Bris de verre Un effet de verre dont le pied est cassé puis reconstitué. J’ai déjà vu Nourdine exécuter sa routine en restaurant (il m’avait invité, comme à son habitude!) et je garde en mémoire la tête des spectateurs ébahis! Rétro Serviette Une serviette en papier diminue jusqu’à disparaître. Bagologie Une bague une cuillère, et de la magie ! Les deux objets disparaissent, réapparaissent, permutent ; puis la bague est retrouvée dans le portefeuille du magicien. Ring-a-ding Adaptation d’un effet de Marlo et d’une version de Faré : trois pièces voyagent une à une de la main au verre, avec une fin « clean ». On en profite pour réviser ses classiques comme le Friction Palm de Benzaï, le change utile de Bobo, la subtilité de Geoff Latta pour empalmer deux pièces, celle de Faré pour la tenue du verre, l’Isolation Placement de David Roth, la disparition d’une pièce à la pichenette et autres douceurs… Argent liquide Production de vin d’un billet emprunté et roulé en tube. Vu et approuvé ! Voyage Expresso Une routine de gobelet adaptée pour la table avec une tasse à café. Des sucres en morceau apparaissent dans la tasse, passent au travers, se transforment en sucre en poudre… Nourdine vous expliquera en outre pourquoi il est préférable d’exécuter la routine avec du sel ! Eh oui, encore l’expérience ! Perrier c’est fou Une routine qui plut à David Williamson en personne ! Une pièce de 2 euros pénètre dans une bouteille dont le goulot est tenu par le spectateur lui-même ! Pour finir la pièce ressort à vue du cul de la bouteille non truquée! Encore une routine que j’ai pu apprécier en conditions réelles, avec pièce et bouteille empruntés au patron du resto. Même les employés accouraient pour voir la routine ; tous les participants vécurent un grand moment magique ! Tout feu tout flamme Faites brûler votre pouce ! Matériel : un briquet et une serviette en coton, c’est tout. Télékinèse Une bague mise autour du corps d’un stylo se déplace et lévite (effet inspiré entre autres d’Attraction de Gary Kurtz). Cuillère vaudou Trente seconde de show télékinésique : une petite cuillère bouge toute seule et sort d’une tasse. La cuillère tordante Version réécrite et augmentée de celle parue dans le nº 21 d’Imagik : une cuillère empruntée se plie à vue, une autre dans la poche du spectateur ! Techniquement difficile, un classique de la magie de Nourdine qu’il présente très régulièrement, un effet à très fort impact sur le public. La cigarette à travers la pièce de 2 euros La version de Nourdine (inspirée par celle de Gérard Alexandre) de ce classique avec une pièce que vous pourrez vous bricoler à la maison. Je me souviens avoir vu Nourdine effectuer ce tour le jour même de la mise en circulation de la monnaie en euros. L’évasion du siècle Une pièce voyage d’une main à un verre. L’effet est réitéré mais la pièce voyage alors d’un verre d’eau plein à un autre vide ! Dîner à la carte Une découverte de cartes choisies, suivie d’une production en série de cartes tirées de la veste du spectateur. Drôle et efficace ! Troisième partie Les deux premières parties de ce livre sont déjà exemplaires. La suite ne va pas vous décevoir non plus. Sont données ici moult anecdotes et astuces permettant de projeter sa magie encore plus loin et des idées sur l’utilisation d’accessoires divers (salières, cendriers, couverts, sucres, serviettes, etc.). S’ensuit : tours de pièces, idées en vrac, remarques sur les objets courants, références, sources, effets possibles, amélioration du répertoire… Une partie très drôle sur les hauts et les bas de la carrière d’un magicien, les malentendus comme parler à un client bègue en le prenant pour le patron, les quiproquos avec des spectateurs persuadés que le diamant rendu n’est pas celui qui a été emprunté ou dont la bague tombée à terre est écrasée par un serveur, les réactions menaçantes à la frontière mexicaine du gars à qui a été subtilisé son portefeuille et à qui ça n’a pas plu du tout, le manchot à qui l’on demande par mégarde de mélanger un jeu de cartes, sans oublier la carte au plafond en impromptu sans adhésif, un sommet de situation inattendue que je vous laisse découvrir dans le livre. Liste de tours Pour terminer Nourdine nous offre un passionnant listing détaillé de huit pages de tours indispensables selon lui à ceux qui veulent être « armés » pour exercer de table en table (j’ai ressenti à la lecture de ce chapitre une satisfaction toute personnelle puisque deux de mes propres effets y figurent, une attention flatteuse pour laquelle je remercie publiquement Nourdine). Plus de cinquante tours de référence qui répondent à ce que toute personne confrontée à ce type de magie en restaurant devrait étudier. Bibliographie Pour finir treize pages d’une bibliographie savamment pensée, une sélection qui est plus qu’un cadeau quand on sait la profusion de livres de magie existant sur le marché. Avoir ainsi des clés pour accéder directement à ce qui a été édité de mieux dans le domaine constitue un gain de temps précieux pour les débutants et novices de tout poil. Le livre d’un beau papier ivoire contient un grand nombre d’illustrations dans la partie concernant les tours mais on y trouve aussi des photos, une feuille d’argumentaire pour donner aux responsables d’établissement, des modèles de support publicitaire, des articles de journaux, des affiches et des cartes promotionnelles, des lettres de remerciement, bref tout ce qui donne une idée concrète de ce dont doit user un magicien pour convaincre un client potentiel ou fidéliser un employeur. Cette bible de la magie en restaurant propose une approche marketing permettant de se présenter comme magicien et pas comme représentant de commerce. C’est un guide, à la fois mode d’emploi et recueil de tours conçus pour permettre de travailler avec des objets obligatoirement présents sur toute les tables de restaurant quels que soient le style et la taille de l’établissement. La magie décrite est verticale car adaptée aux contraintes. Une dernière chose : comme il est évident que certains voudront tenter de jouer la comparaison entre le livre de David Stone et celui de Nourdine, soyons clairs tout de suite. En aucun cas il n’y a eu d’inspiration de l’un sur l’autre, il se trouve que des hasards de calendrier font que les deux livres ont paru à des dates assez rapprochées et que le sujet traité peut paraître identique ; tel n’est pas le cas. Je connais ces deux magiciens talentueux et l’un comme l’autre ils m’ont comblé par leurs réflexions respectives. Chacun des deux livres apporte des éléments si importants qu’il serait absurde de se priver de l’un des deux ou de les mettre en compétition, il est plus judicieux d’en admettre la juste complémentarité. En outre, les deux ont vu le jour presque en même temps sous à la plume d’Ivan Laplaud qui a pris soin de cadrer les particularités de chaque auteur, en fonction du style et du contenu. Difficile d’apporter un meilleur gage de qualité, d’intégrité et de singularité. Nourdine (1er prix Diavol 2001, 1er prix Invention Congrès AFAP 2004, etc.) a publié de nombreux tours dans les revues spécialisées (Imagik, Arcane, l’Illusionniste…) et commercialisé plusieurs effets originaux qui font de lui l’un des créateurs qu’il faut suivre avec une attention constante. Outre son savoir-faire, il est l’un des magiciens les plus adorables que je connaisse. Je pense que son livre fera date. Une dernière chose : si après ce que je vous ai écrit ci-dessus vous n’avez pas encore commandé le bouquin, je ne peux rien d’autre que vous suggérer une reconversion dans la broderie ou le patchwork, vous auriez tout à y gagner. Christian Girard 7 septembre 2007

Bonjour à tous et joyeux Noël en retard (j'ai un problème avec mon ordi donc je n'ai pas pu vous le souhaiter plus tôt ), Ce serait pour vous demander une chose : Pouvez-vous me dire (références avec) tous les tours de magie IMPROMPTUE que vous connaissez et qui sont bien !? Celà peut aller de la cartomagie aux pièces en passant par n'importe quoi du moment que c'est de la magie impromptue (celà peut être aussi des tours comme pen thru the bill (je connais l'effet et le truc mais je ne l'ai pas) où c'est un peu impromptu dans le sens où on vous dit : "Faîtes-moi un tour." Et vous vous demandez un billet, vous prenez votre bic et hop vous vous exécutez)... En fait, je cherche plutôt des tours qu'on fait avec des objets qu'on a sur soi mais qui nous serve dans la vie de tous les jours, ex: fire portefeuille, pen thru the bill, time clock (enfin je ne connais pas le nom mais c'est le tour avec l'heure que veut le spectateur qui apparaît sur votre montre, montre que vous pouvez utiliser comme n'importe laquelle),... Mais dîtes toujours si vous connaissez des tours impromptus et bien même si ils n'ont pas l'air de répondre à ma demande...

Bonjour à tous, débutant dans le mentalisme, j'aurai souhaité acquérir un bloc note , pad ou peut etre meme portefeuille afin de pouvoir créer et réaliser des effets aussi bien avec des mots, des dessins ou chiffres... devant l'immense choix qui s'offre à moi quelques conseils éclairés et même une réference livresque....me seraient bienvenue...( peut être suis je passé à coté d'une rubrique qui leur étaient consacré et si c'est cela je m'en excuse..!..) Merci