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Chest with surprises. Focus secret

Spectacular tricks and their clues

Directory / Spectacular tricks and their clues

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Focus Description:

A solid, iron-bound chest is brought onto the stage. Near him are a magician and an assistant. In the hands of the magician is an ordinary large bag, a strong cord is threaded into the neck of the bag. The magician opens the bag and shows it to everyone, and then invites the assistant to climb inside it. After tightening the cord and tying it in a knot, the magician invites someone from the audience to inspect the bag and make sure the knot is secure.

As a guarantee, you can invite the viewer to seal the knot on the bag. Then they take out a candle, sealing wax and seal the heated sealing wax on a plank to the ends of the cord with a ring, a coin, a badge, etc. Thus, the assistant is in a bag tightly tied and sealed. The bag is carried to the chest and laid on the bottom. The lid is closed, locks are hung and, for credibility, the chest is tied with chains or ropes.

When all the manipulations with the packaging are over, several people push the chest to the middle of the stage. Immediately the magician commands to untie the ropes and remove the locks. He invites the same spectator to the stage and together with him removes the bag from the chest. The magician asks to make sure the seal is intact, and then break it and open the bag. The climax comes: the bag opens, falls, but ... instead of an assistant, a charming girl comes out of it (precisely charming, otherwise the trick will fail). The assistant suddenly appears from the auditorium.

Focus secret:

The chest and bag are equipped with secret devices. The back wall of the chest consists of three boards, with the middle one hinged inwards. The board is fitted very neatly, fixed on hidden internal hinges and equipped with spring ball clamps. It is almost impossible to notice that she is mobile. A secret hatch opens inward, and the outer chains do not interfere with its use at all.

The bag is also not just a bag: a zipper is sewn into the side inner seam, of course, neatly and imperceptibly.

Before the demonstration of the trick, the chest is placed on the stage closer to the backstage. As soon as the assistant in the bag is planted and packed in a chest, he immediately opens the "lightning", a secret hatch, quietly gets out of the chest and hides behind the scenes. Now the assistant comes to replace him and quickly takes his place, without forgetting carefully close the hatch and fasten the zipper. After that, the chest is pushed to the middle of the stage.

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Random news from the Archive

Chinese language sets children to music 28.01.2017

In many modern languages, the meaning of a word depends on the pitch at which it is pronounced; pitch variations of syllables and words can completely change the meaning of what we are talking about. Such languages ​​are called tone languages, and one of the most famous examples is the Mandarin Chinese language, including its variety Putonghua, which is the official language in China, Taiwan and Singapore and which is distinguished four tones. There are also more complex cases, such as Lamnso, the language of the Nso people from Northern Cameroon. Nso communicate with each other already on eight tones, and the meaning of each tone is determined by its variations during the pronunciation of a particular word. It can be assumed that just such languages ​​should be especially closely related to musicality.

This hypothesis was put forward some time ago by psychologists from the University of California at San Diego, who worked with music students. The researchers were trying to understand whether the pitch perception of students whose first language was Chinese is different from the pitch perception of those who speak English from birth. However, at first it was about absolute pitch, that is, the ability to recognize a sound (note) by itself, without interconnection with other sounds.

The scientists did not investigate absolute pitch, but "relative pitch", that is, the ability to determine the pitch of a sound in the context of its neighbors. It is precisely thanks to "relative" hearing that we can, for example, pull up a song after other singers, equaling other people's voices. And the participants of the study this time were not students, but children aged 3-5, some with native Chinese, some with native English. Both were asked to pass several musical tests to recognize the pitch of sounds and their timbre.

As a result, it turned out that both hear the timbre in the same way, but the pitch is different: children with native Chinese felt the pitch better than children with native English. Obviously, both speech skills and musical abilities do not develop in our brain separately, not independently of each other, but, let's say, in close cooperation - "language" affects "music".

However, it does not at all follow from this that a child who studies music must by all means begin to learn some tone language. Music is not only the difference between "la" and the note "si", it is also timbres, rhythms and a mass of syntactic rules by which any piece of music lives. So in order to know and understand music better, you need to deal with it; although it is worth noting that an additional foreign language has never bothered anyone.

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