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The Magic Cafe Forum Index » » New to magic? » » Examinable tricks? (4 Likes) Printer Friendly Version

testacc22
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Hey guys,

I like doing tricks for family / friends but my family especially like to look and handle the props closely to make sure there aren't any gimmicks.

I guess it's more impromptu stuff that I'm interested in, so far I use:

normal playing cards
normal coins
sponge balls

But I'm looking to expand my repertoire a little bit and I'm interested in other sorts of tricks (mind reading etc)

Can you guys recommend some strong effects that can be used closeup / are examinable by my audience? Gimmick or no gimmicks, what are your favourites?

I especially love card magic. I realise gimmicks can be seen as a crutch but I am happy to use one for a powerful effect.

I have loads of Tenyo products which are absolutley perfect and exactly what I am after, they are brilliant. Im sure there's some other more western tricks that tick the same boxes?
Harry Lorayne
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I've written a heck of a lot of books on IMPROMPTU card magic
[email]harrylorayne@earthlink.net[/email]

http://www.harrylorayne.com
http://www.harryloraynemagic.com
Wravyn
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Also, Harry's The Magic Book has some great stuff too. His Coins Across can be done using borrowed quarters.
karnak
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Harry’s conversational writing style is also second to none. I sometimes find it difficult to focus upon and follow written magic instructions, which can be mind-blurringly dull (like reading a recipe). Harry’s THE MAGIC BOOK reads like he’s sitting across from you at a table, coaching you personally. Great teacher/author.
For a supernatural chiller mixing magic (prestidigitation, legerdemain) with Magic (occultism, mysticism), check out my novel MAGIC: AN OCCULT THRILLER at http://www.amazon.com/Magic-Occult-Thriller-Reed-Hall/dp/1453874836
Dick Oslund
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Quote:
On Oct 10, 2019, karnak wrote:
Harry’s conversational writing style is also second to none. I sometimes find it difficult to focus upon and follow written magic instructions, which can be mind-blurringly dull (like reading a recipe). Harry’s THE MAGIC BOOK reads like he’s sitting across from you at a table, coaching you personally. Great teacher/author.


Yes!!!
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kShepher
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Any Harry book....he always states he works with borrowed decks, and a good coin magic book. Most of coin magic is very examamable. My issue with it is that is VERY difficult. I think cards are much easier. Just watch Roth.
Dick Oslund
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Quote:
On Oct 10, 2019, testacc22 wrote:
Hey guys,

I like doing tricks for family / friends but my family especially like to look and handle the props closely to make sure there aren't any gimmicks.

I guess it's more impromptu stuff that I'm interested in, so far I use:

normal playing cards
normal coins
sponge balls

But I'm looking to expand my repertoire a little bit and I'm interested in other sorts of tricks (mind reading etc)

Can you guys recommend some strong effects that can be used closeup / are examinable by my audience? Gimmick or no gimmicks, what are your favourites?

I especially love card magic. I realise gimmicks can be seen as a crutch but I am happy to use one for a powerful effect.

I have loads of Tenyo products which are absolutley perfect and exactly what I am after, they are brilliant. Im sure there's some other more western tricks that tick the same boxes?


Hey friend testac! "Youse" are "new", so please don't be irritated, if I explain something.

An EFFECT, is "WHAT THE SPECTATOR P E E C E I V E S! (IT is not a TRICK! )

You would be WISE to read the BASIC BOOKS, and learn PRINCIPLES!!!!!!! Along with Harry's book, I would strongly recommend THE TARBELL COURSE. Most of my show, which I have been doing for YEARS, came from what I learned as a teenager (in the 1940s) from TARBELL. Written in 1927, the suggested patter, and presentation, is a bit archaic, but the PRINCIPLES are what's important!!!!!!
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
Ravenspur
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Because of Dick's comments, I looked up the terminology in Maskelyne's "Our Magic." I was having a hard time keeping the terms straight.

Here's a direct quote:

A magical TRICK or Device is an invention, by means of which a certain principle is utilized for the production of a given result.

A magical EFFECT is the final result, due to the use of a certain trick or tricks in combination.
Drylid
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Sounds like you have the trick aspect down but could use some crowd control tactics. Id suggest tommy wonders 1st book of wonder for how to make people not want to examine things.
Also if you are using entire gimmick decks the art of switching decks is another book id recommend.
Regular cards can be used for mind reading tricks too! Id suggest red pull by chris ramsay for a really neat trick that happens in the spectators head. I also think there is a book called mind reading card tricks you could buy
funsway
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Just an experienced opinion, but you task is to make an effect so astonishing and impactful that no one wants to examine anything.

They want to sustain or savor the illusion and will not risk destroying it. Same goes for "figuring it out" or "gotta check YouTube."
Not saying you can always achieve this level of audience engagement or "must be magic" response, but it should be your objective.

Quit doing tricks and start working to create an experience of magic. Card tricks are fun and popular. But ask, "Where is the magic?"
"the more one pretends at magic, the more awe and wonder will be found in real life." Arnold Furst



ShareBooks at www.eversway.com * questions at funsway@eversway.com
Mr. Woolery
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The OP still hasn't made a second post, but I do think the subject is worthy of discussion. I don't know whether it will reach the person who asked, but it isn't a bad thing to consider examinability.

First, Harry has a stellar reputation as a magic writer and does have plenty of material in print for those who would prefer to avoid gimmicks.

I'd suggest also looking at Patrick Page, Paul Harris, and Bobo for other good material that is examinable.

Second, I don't like the claim that it is all about audience management. You can manage things so they don't make a grab at your props, sure. But that doesn't mean they think what they saw was done without tricky equipment. It just means they are not asking to examine it. Perhaps because you created in them the experience of real magic, perhaps because you established personal boundaries that make them uncomfortable with grabbing at your hands, perhaps because you managed to convince them that the magic items really are normal and they don't want to examine them. Derren Brown is a master of convincing people of false explanations that lead people away from the real explanations, but he doesn't do it by refusing to let things be examined. He does it by showing that he can (for example) control their choices.

Friends and family are a mixed bag when as audiences go. Sometimes they can be very supportive, but because the know you well, they are less likely to respect your space and keep hands off of your stuff. Being able to at least end examinable is pretty important with casual performing for such a group. Pretending otherwise is really sort of silly. I think Harry's thought that there are a number of books of material that is impromptu and doesn't use gimmicks is likely your best first place to go. I do repeat that his books are not the only good ones out there, but his are good.

Another thing to remember is that you are aiming to end in an examinable state. That doesn't mean you have to start there. One of the greatest stage tricks I know of is the signed coin in a ball of yarn. When you end, the whole length of yarn and the coin can be examined. There's nothing to find. But there are a couple of gaffs in the process, so it isn't examinable before or during, only after. This isn't the greatest example, because the OP is not really looking for stage material, as far as I know. But it illustrates what I mean about ending in a state where everything that is left in the hands of the audience can be totally examined.

Before you decide what tricks to look for, I suggest first looking at what kinds of tricks you enjoy performing. I don't like to do card tricks. I love watching good card magic. I don't like doing it, for the most part (there are a few tricks I love, but they are the exceptions). It took me a long time to figure out that I don't always like doing what I like watching. So, what do you like doing? Coin tricks? Card tricks? Rope tricks? You can find both gimmicked and ungimmicked tricks in all those categories. So, think about what sorts of tricks you like to do and could see yourself doing. Seek out material that fits your preferences.

And it is a really sweet thing to leave folks with objects that have blown them away and that they can now examine and find nothing. I think it is worth having at least some material for that sort of situation.

-Patrick
Dick Oslund
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Most of the props that I use, and have used, for many years, are GENERIC! (silks, golf balls, rope, etc,) The few exceptions are a 3 ring routine, egg bag, etc. The routines with the rings, and egg bag are done with the active involvement of a spectator. The rings and egg bag are HANDLED BY THE PEOPLE PARTICIPATING IN THE ROUTINE. The audience accepts that the are "ungimmicked", because of the spectator involvement.

A few of the GENERIC props ARE GIMMICKED (Serpentine Silk) but the VISIBLE EFFECT, is SO VISUAL that they don't suspect it.

Your PRESENTATION may be a factor in your audience's desire to examine props,

Odds are that a STUDY of books like Fitzkee's "Magic By Misdirection", would help you.
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
Dick Oslund
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P,S,::: TRICKS, SOMEWHAT LIKE MUSIC, ONLY "EXIST", WHILE BEING PERFORMED, One can't EXAMINE TRICKS. One can examine PROPS.
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
Joeni
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There are two aspects to be considered. First, how to use examinable props and second, how to avoid direct examination by the spectators. Why this second point? If you give your props to the spectators to examine it, you do - without knowing it - challenge the spec to find out how it works. This destroys some of the strength of your magic. It is no longer about the impossible but about a puzzle to be solved.

Darwin Ortiz writes a chapter about convincers ("accidental" and "incidental" convincers), which would be very helpful on this subject.
Drylid
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You shouldn't seek for things to be looked at as it screams towards the gotcha genre of magic. The goal is to astound one so much that the entire time you are performing they are 100% convinced that it is not a gimmick. Once its in their hands they are like little monkeys examining a rubiks cube. Even if there is nothing, they look for something. If people are wanting to look at your cards, coins, even silks, you are doing something wrong. Sure they should be able to but the thought shouldnt even cross their mind.
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