Some time ago I posted that I was going to review "Deeper and Deeper" by Jonathan Chase. A few people here had very positive things to say about the book so I was looking forward to it. Initially, I read about 10 pages before putting the book down in disgust. In those first few pages he makes some statements about the history of hypnosis that are literally 100% wrong. He writes, "…a Frenchman named Anton Mesmer told people that he could cure their ills by 'human magnetism'." He wasn't French, he was German. His name was Franz Anton Mesmer, not just Anton. He initially used actual magnets to cure people (following the teaching of a Father Hell). Later, he came to believe all living being produced a type of energy like magnetism, and he called this "animal magnetism," not "human magnetism." Chase later confuses James Braid with James Esdaile. He talks about the character Svengali as a film character (not even noting that he was introduced in popular novel "Trilby") and makes claims about him that show he didn't see (or didn't remember) the movie. With such elementary mistakes, how could the rest of the book be any good? Even though I was used to gross, factual errors in self-published books such as this one, I was disappointed by the support this one received. I simply couldn't read any more.

So I put it aside for many months until this past week. I was traveling to Minnesota and needed something to read. So I took it along. I re-read the beginning, gritting my teeth through the errors, and made my way rapidly through the book. It's a very easy read (in spite of a few typos, again typical of self-published books). As I read, I found myself agreeing with Chase more and more, actually shouting--well, mentally shouting--"you're right!"

I think the key to understanding this book can be found in the subtitle, "The Secrets of Stage Hypnosis." The book is NOT a training manual for stage hypnosis. Rather, once you understand the basics of hypnosis and stage hypnosis, this book gives you the secrets of how to change your understanding of hypnosis into a great stage act. He discusses practicalities such as why you need assistants and how to work with microphones. He reveals the importance of attitude and being "THE HYPNOTIST" (hmm, I wonder who came up with that terminology first, Chase, Anthony, or someone else?), how to move on the stage, and the very important topic of how to deal with people who are faking they are under (if they don't obey your suggestions, send them back; if they do obey, keep them on stage, but let them know before the end of how you're aware they were faking). He covers the important topic of safety of everyone and the necessity of insurance (in the U.S., however, venue owners usually have the insurance and the entertainment is covered by that).

One of the statements commonly used by hypnotists is that hypnosis cannot make you do something you don't want to do. I believe this is 100% true—BUT most people are completely unaware of what they are actually willing to do. Chase puts it this way: "NO hypnotist can make anyone do anything that they do not really wish to do. Nor more that is, than any good con-man, or a few pints of falling down water. Some hypnotists would argue that you couldn't get anyone to perform an act that goes against their moral values and/or beliefs. However these morals and beliefs are, in most people, a very thin conscious veneer kept up for social acceptance and can often fall away with other inhibiting factors when hypnotised, just like being smashed. It's important that you understand that a person hypnotised on stage very often has no morals for the time they are with you, so moral standards are up to you."

Unlike some hypnotists who might use this information to take advantage of people (one of the seeming purposes for some street hypnotists), Chase actually urges caution and that you should be a "responsible guide."

Another thing I've long said is that people should learn the basics of induction and then move on to performance. Chase writes, "In actual fact the art involved in being a STAGE hypnotist is not just learning to hypnotise, anyone can do that and it really can be learnt in minutes. But to make the whole process entertaining takes talent, masochistic tendencies and a death wish: fortunately, not everyone possess a combination of all three."

So I started to like this book. It's written with a definitely snarky sense of humor, yet gets its points across.

After describing how to prevent physical dangers of a show, he writes, "As for any psychological danger it does exist. Especially if the volunteer beliefs it to exist! That's why we must enlighten everyone about the process and make sure we tidy up well after the show. Obviously it is possible to instill a phobia as easily as one an be removed, but I don't think there is enough focus on these events on stage to install anything permanent. In saying that, always make sure with a simple phrase that "Everything will be returned to normal."

While I agree with his concept, I respectfully disagree with his solution. Everything returns to normal? What if "normal" is "being happy to live in an abusive relationship?" I prefer to remove any and all post hypnotic suggestions and give the on-stage assistants some positive suggestions for health and prosperity. It's good for them, good for getting volunteers in future shows, and lets everyone feel good about the show.

One of the problems of learning hypnosis from books is that such books usually feature a progressive (muscle) relaxation induction. Just using that, people can become very, very relaxed. As a result, many people feel that hypnosis is nothing more than deep relaxation. As those of us who do instant or rapid inductions know, while relaxation usually accompanies hypnosis, it is not required at all.

Some people, mostly book learners, can become relaxed, and then give themselves suggestions. Or they spend 40 minutes helping a person become relaxed and give them suggestions. They wonder why their "hypnosis" failed and didn't give the desired results. Several years ago, a friend of mine began referring to this "technique" as "relaxotherapy" rather than hypnotherapy. I don't know where he came up with the term, but Chase certainly uses it, too. "[The appearance of sleep is ] not necessary. Relaxation has become a part of hypnosis because it is the usual symptom of the state in the therapy room (always suggested by the hypnotist). All very well for what a friend of mine calls 'relaxotherapy.' Hypnosis does not need it. But that is what your audience has paid for and that is what they are going to get. You as 'THE hypnotist' must know that it isn't the cause, merely a reaction to your suggestion. Once they have accepted a suggestion to this degree then they will accept ninety nine percent of all your suggestions."

Because hypnosis works with the subconscious, many people will ask about subliminal suggestions. I agree with Chase: "Hypnosis and subliminal programming have nothing at all in common. Hypnosis works."

Chase suggests watching comedians to understand the nature of timing. He also urges you to see many shows. "Watch as much theatre as you can in whatever form it takes, and preferably watch it live. By simple osmosis you'll begin to understand timing, light and shade, structure and how to pull and push your audience." Great advice, in my opinion. However there are also classes you can take that can help you with this. His final tip comes from British comedian Ken Dodd: "If it's worth a minute, give it thirty seconds." That is, don't carry something on until the audience gets bored with it.

There are very few scripts in this book, only brief snippets and suggestions. This isn't a book of step-by-step instructions, it's a book of secrets. Chase does this so you don't copy what he does. Rather, he encourage you to be creative and invent your own routines.

In sum, this is a snarky, self-righteous book on the secrets of self-hypnosis. Self-righteous? As he puts it, a good hypnotist has to think of himself or herself as the best hypnotist ever, so of course it's self-righteous. He wrote it didn't he? It's not a how-to book so much as a how-to-make better book. If you exclude the historical information, I would recommend this as an addition to any stage magician's studies.

Thanks for the review. I have never understood why most books and even some training on Stage Hypnosis goes into Erickson, Braid, Mesmer and the history of hypnosis, animal magnetism, and such. This really has nothing to do with stage hypnosis at all. I get that it's to offer the story and timeline of hypnosis, but it is immediately quite a turn of to me, and to many I've spoken with over the years.

Since most should learn clinical hypnosis first, it may or should have been covered there, but not in stage.

With that said, it sound like an interesting book although I'm not sure it's for newbies, as they always seem to be looking for a step by step guide. However, I like the contents of the book as you've described, at it is this information that can make a performer, or take a basically trained performer to the next level.

I made a decision not to buy anymore books a couple of years ago, since nothing new seems to really be available, but it's good to hear something positive and real about stage hypnosis, and that he covers "some of the good stuff". Sounds worth checking out.

Thanks for the review.
That's pretty accurate in my opinion and mostly matches my own experience reading the book.

A couple of points:

This book first came out before Anthony Jacquin's Reality Is Plastic and Jonathan is credited/thanked in Anthony's book. So that explains how a couple of terms are used in both.
There are even chapters in Deeper and Deeper entitled "Impromptu Hypnosis" and "The Super Suggestion." This is the first time I can recall either of those phrases being used and although Jonathan claims in the book that he didn't think of the latter of these phrases himself, I can't find any mention of it elsewhere before Deeper and Deeper.

Relaxotherapy was (I believe) first coined by Hypnotherapist Barry Thain on an old hypnosis Yahoo group. He is thanked in Jonathan's book and also wrote one of the first reviews which appears in recent editions as "Praise."

Disclaimer:

Many here already know that Jonathan Chase mentored me (and continues to mentor me, whether I like it or not!) We have trained others together on a number of occasions recently and have become close friends.

However, I'd like to add that, unlike may trainers and authors in this field, even though Charcot-Marie-Tooth disease necessitates the use of a wheelchair to get around outside of home, Jonathan still performs shows himself.

I say this because Jonathan's communicated experiences in and (strong) opinions of hypnosis, like my own, come from somewhere other than the artificial training room scenarios upon which many recent names in hypnosis education seem to base theirs.

So, having said all that, my very biased opinion is that Jonathan Chase is an excellent hypnotist, educator, speaker, innovator and author.

It is also my opinion that he should be acknowledged as such. Antehumously!

There are very few books I would recommend on stage hypnosis. Deeper and Deeper is one of those few. It is full of useful information on the actual business of putting on a show.

Thank you for your kind comments. I would like to say that as is mentioned in the book the actual history of hypnosis isn't really important for the reader to get the full value, and as far as entertaining stage hypnosis is concerned the science and history can actually get in the way.

In saying that any inaccuracy is born from a laziness in bothering to research the history. However it is for that reason that the book contains nothing that hasn't been performed professionally. No theory or guesses. Thank you again for reviewing and commenting on Deeper and Deeper.