I am trying to come up with ways to combine
hypnotic effects with mentalism effects.
I would like to know what do you think about my ideas.

{Just the bare bones of the routine}
You ask a lady to close her eyes.
You ask her to open them.
She can't.
Now,going further with her you ask her to mentaly write a word in her mind's eye which of course you "predict" in advance on a piece of paper you gave her before.

another idea:can't get up from the chair with T.A.Waters's effect Speakay.

Yaniv Deautsch

Not to be rude, but IT'S BEEN DONE!

Now, if you want to have fun with it use Muscle Reading instead and actually write out the name the spec is merely thinking of and "seeing herself" write... I've used this on stage and in Readings... IT KILLS!

There are ways of using a light induction in mentalism... I do so in my "Suggestions" show as part of the opening and in some of the Home PSI Party routines I do... it adds considerably to the psychology (or psychosis... depending on how you look at it) around the act itself.

If you look into the Stage Mentalism books by Arnold Furst, Ormond McGill and Jerry Valley yuo will find examples of where "Magic"/mentalism is blended into a Hyp act. This may help you gain some better perspective in how to do it best.

I know that alot of mentalists were also hypnotists.
I'm aware about that.
That is why i was asking about my IDEAS!

Yaniv Deautsch

Who cares what the others think about YOUR ideas?!?!?! If you like them, try them out in actual practice. Hone them, tighten them, analyze them and figure out what works and what doesn't. A true artist doesn't give a rats a@@ about what others think of their work. If you beleive in both your talents and your ideas, then go with them and develop them.

Good ideas can take years before they are honed to perfection but by that time they have become so "you" that nobody else could ever think of doing what you are doing. That is how comedians write their material and how good magicians and mentalists create their pet routines.

PSIncerely Yours,
Paul Alberstat

Are you saying that painters don't show each other their own art work?

Yaniv Deautsch

Not at all. What I am saying is that the painters might look at the other artists work but don't really give a *** about them as far as what they are painting. A true artist paints from their heart, the same as a true performance artist. If you beleive in what you are performing, if you beleive in your own talents, then why would you worry about what other performers think about your performance? I would be more focused on entertaining my audiences and not what other performers think. Do you see the difference now?

PSIncerely Yours,
Paul Alberstat

Paul is quite right here. The opinions of other performers can actually hinder you in most cases.
Weird how I always find myself agreeing with Paul.
By all logic it shouldn't be happening but it does.

Most certainly! However, if you are "new to the game" a casual study of most and deep study of certain ones, can help you see what to do and not to do.

I agree with what Paul is saying and he's right on... you must learn how to pull out your own "reality" as it were and it does take time... it also takes having people whose opinions you trust, and the willingness to have them rip you a new butt every now and then, so that you can refine and perfect what you do.

Taking direction is one of the hardest things for most all of us as "Performing Artists" (especially if we have achieved any degree of recognition/success... the old ego gets in the way) But, every one of the big guys, regardless the field of endeavor, listen and wiegh what others have to say and respond accordingly, while also paying attention to their own nature/gut/intuition or whatever it is you want to call it.

I just repeat what Chris Carey said years ago... DO THE STUFF THAT'S YOU!

I'll agree with Paul, Darmoe and the rest to a point. But my experience is that, in any field, a variation of the old 80/20 rule is always at work.

If you're new to a field, are convinced you have a great idea and the old pros tell you you're making a mistake, the odds are 80% that they're right and you're wrong.

If you're experienced, have developed an understanding of your own style and of your audience and THEN have a "great idea" only to have the old pros tell you it's a mistake, odds are then 80% that they're wrong and you're right.

Personally, I'd think it would be worth getting outside opinions all the way up the spectrum... just be aware of how much weight to give them as you progress.