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EFFECTIVE FOCUSES AND THEIR CLUES Focus with screen and box. Focus Secret
Directory / Spectacular tricks and their clues Focus Description: On the stage there is a low (55 centimeters from the floor) table with a lid 50x100 cm. The magician, together with his assistant, takes out a four-leaf screen, closed in the form of a parallelepiped (Fig. 38, A). Turning it in front of the audience several times, the performers show all four of its outer sides and put the screen on the table.
Both stand behind the table, unfastening the hooks that close the flaps along one of the edges of the parallelepiped (see figure), and deploy the screen flaps in one plane. Viewers can see that inside all four doors of the screen are painted in dull black and do not have any secret devices. The performers again fold the flaps in the form of a parallelepiped and fasten the hooks that lock it, and then once again show all four flaps from the outside. Now the public knows that nothing is hidden inside the closed doors of the screen. The artist remains behind the table, and the assistant moves a little to the side. The leader, pulling up his sleeves, exposes his wrists. Having shown that he has nothing in his hands, he begins "magic" passes, "catches" objects invisible to the audience in the air and throws them inside our parallelepiped. pretending to be very tired. The handkerchief is hidden in his pocket, the performer, once again pulling up his sleeves, shows his empty hands, and then lowers them inside the parallelepiped and takes out from there, slowly pulling out, a wide bright long ribbon. He passes it to his assistant, who, waving the ribbon, describes beautiful zigzags in the air with it, and then places it on the table next to the screen. The illusionist at this time has already taken out and hands over to the assistant a beautiful shawl. Having shown both sides of it, tossing and catching the shawl, the assistant puts it on the table as well. And the magician is already holding several multi-colored scarves in his hands and passes them to his assistant, etc. During the trick, the performer takes out of the screen, folded in the form of a square, a lot of the most diverse and sometimes unexpected things: serpentine, various lanterns, garlands, cubes, etc. Having taken out the last item and unfastened the hooks of the screen, the artists again stretch it into one plane and show both sides of it to the audience in this position. Then, folding the screen in half, the assistant takes it away. The magician goes through the objects lying on the table, showing them to those present. At this time, the assistant returns to the stage. He brings out a second table, which is taller than the first, but with a small square top. This table is placed next to the low one. Then a cubic-shaped box is placed on a high table (Fig. 38, B), brought by an assistant from behind the scenes. The magician stands at the high table, overturning the box, shows that it is empty inside, and puts the box back in its original place, opening the lid. The assistant passes objects one by one to the leader, lying on a low table, and he puts them in a box, while the sleeves of the artist are pulled up high and the wrists are bare, so that the audience does not doubt that the magician is putting objects into the sleeves. So, having collected one at a time, he hides all the items just obtained with the help of a screen in this box. Taking the box in his hands and holding the lid open, the artist approaches the ramp and, tilting the box slightly, shows the audience that it is filled to the very top with the things he put there. Having closed the lid, the conjurer returns to the table and puts the box on it, while he himself moves away a certain distance. A low table is carried by an assistant backstage. Standing away from the table and the drawer, the artist takes out a "magic" wand from the inner pocket of his jacket, makes "magic" movements with it, then goes to the box and takes out a cage with a live bird from it. The cage is the same size as the box. The things the conjurer had put in earlier "disappeared". Pushing the "magic" wand through the bars, the magician makes the bird flutter inside the cage. The presenter walks along the ramp with a cage in his hands, and his assistant removes the table from the stage along with the box. Focus Secrets. All the secrets of our trick are contained in a screen and a box that you will have to make yourself. Let's start with making a screen. Its sashes are made of plywood 10 mm thick. On fig. 39, And patterns of all four wings are given. All of them are 700 mm high, three of them are 350 mm wide and the fourth is 360 mm wide. In the middle of the sash b, a rectangular window (250x500 mm) is sawn out. A swinging folding sideboard is inserted into this window. For its manufacture, three-millimeter plywood is taken, from which two rectangles d (250x500 mm) and two isosceles triangles d are cut (Fig. 39, B).
Taking one rectangle d and attaching e both of its long sides, close to them, triangular pieces d, glue all three parts on black material and, after drying well under a press, cut off with a sharp knife the excess material that goes beyond the glued parts. Now the triangles e, fastened with material to the rectangle r, can be folded over the rectangle, as shown in Fig. 39, B dotted line with two dots. The second rectangle r is also glued onto black material, but in such a way that after trimming, strips of matter 120 mm long extending to the sides remain at its upper edge (Fig. 39, B). With the help of these strips, the second rectangle is attached to the triangles e, which are connected to the first rectangle d as follows: the upper edges of the triangles from the line of their attachment to the first rectangle and up to the middle line are smeared with glue (in Fig. 39, D this place is drawn), and to strips of the second rectangle r are glued to it. We have a peculiar, black inside, sideboard pocket (Fig. 39, D), which can be folded, becoming completely flat, as shown in fig. 39, D. Let's put our sideboard aside for a while and move on to the outer finish of the screen doors. Each leaf individually on the outer side is completely pasted over with matter, better than a new one with a pattern, but it is also possible with an old one, painted in a bright color. After drying under the press, the excess material is cut off with a sharp knife or razor. The finishing of sash b, which has a swinging sideboard, is somewhat difficult, so we will talk about it in more detail. Having laid a newspaper on the floor, a sash b is placed on it, and a folded (flat) cable made by us is put into the window in the middle of it. The sideboard is placed outside with the side to which the triangles are glued e. Having aligned the surfaces of the sash and the sideboard in one plane, they are pasted over with material. After drying under pressure, a safety razor blade cuts through the material through the gap between the sash and the sideboard, but only from three sides, along the top and sides of the sideboard. The material connecting the lower edge of the sideboard with sash b will serve as a kind of loop on which the sideboard leans outward.
Laying the screen flaps with the outer side down, in a row, in the order as shown in Fig. 39, A, they are tightly pressed with side edges to each other. The sideboard is aligned in the same plane with the screen. After that, the inside of the screen is completely sealed with one piece of black material and allowed to dry. Thus, the individual sashes were connected into a single screen. Without violating the integrity of the screen, we cut off with a sharp knife the excess material that extends beyond the outer dimensions of the screen. Now, with a safety razor blade in sash b, we cut through the black material, separating the wall d of the sideboard from the screen sash on three sides, as we already did on the outside of the sash, leaving the material below uncut. After that, our sideboard can also open inside the screen.
Take a good look at Fig. 39, E, it shows a vertical section along sash b. It depicts a sideboard open inside the screen, and a dotted line with two dots shows it open to the outside. Pay attention to the emphasis y, it is fixed in the middle of the upper crossbar of the sash b and serves to ensure that the walls of the sideboard in the folded state cannot fall below the plane of the sash of our screen. In the same place you see two constipation h, one on each side of the sash. They are small wraps made of tin and rotated on short, thin screws (see detail). Locks are painted in the color of the screen. Now, if we fold our sideboard, put its walls into the window in casement b, lock them on both sides with wrappings z, and then show the screen to the audience with any of its sides, then they will not notice any "secrets" in it. True, from the outside in the sash b they can notice the cuts we made in the facing material. In order to exclude this danger, we will circle each leaf around the perimeter with a colored strip - this can be seen in Fig. 38, A and 39, G. This is done as follows: a stencil is cut out of thick paper impregnated with stearin or paraffin, which is pinned to the middle of the sash with buttons, and then the edges of the sash are painted over with oil paint using a bristle brush. The paint should not be very liquid, they do not take too much on the brush, dry the brush by running it over the newspaper, and only then paint over the strip along the perimeter of the sash. The width of this strip is 50 mm, the protrusions of the strip along the middle of the sides of the valves help to hide on the outer side of the leaf b the constipation-revolver h there. An ornamental pattern can also be made on a stencil in the middle of the wings (Fig. 38, A). It remains for us to attach two hooks to the screen (Fig. 38, A and 39, G), with their help, the sashes are locked, forming a parallelepiped. Having folded the screen in the form of a square and locked it with hooks, open the sideboard inside the screen (Fig. 39, G); the whole screen inside turned out to be black, only the outer sides of the two triangles went unpainted; paint them with black paint, and our screen is completely ready. Now let's talk about the technology of showing focus with a screen. The artists carried it to the stage and put it on the table in a folded form, with a sideboard, "charged" and thrown back inside the screen. Thus, turning the screen in front of the audience with all its sides, they were not afraid to reveal the secret. Then they both stood behind the table, and while the assistant slowly unfastened the side hooks of the screen, the magician turned the wrapping from the outside of the screen, moved the sideboard to the outside of the screen and locked it from the inside. After that, unfolding the screen doors, the performers were also not afraid that the sideboard could be discovered by the public, especially since, standing behind the screen on both sides of the sideboard, they closed it from the sides. Having again made a square out of the doors, the illusionist moved the sideboard inside. The sideboard was "charged" with those items that the artist must take out during the trick show - there was a ribbon on top, a shawl under it, several multi-colored scarves below, etc. In the last section of the book, we will talk about the construction of some folding items, and you can use them to "charge" the sideboard. Taking out all the items from the sideboard, the performer hid it in the thickness of the leaf b, as described above. Then it became possible to show the audience both sides of our screen in expanded form; after that, having folded the screen in half, the magician's assistant carried it backstage. For the second half of our trick, you will have to make a special box and a bird cage. You should start with a cell. It is made of tin and wire (iron or copper). On fig. 40 on the left you see a general view of the cage, its dimensions are 300X300X300 mm. The basis of the cage is: below - a metal strip a 40-50 mm wide, at the top - a square soldered from a tin corner b; vertical wire rods 300 mm long are soldered to them, the distance between them is 15 mm - these rods form the walls of the cage. At a height of 200 mm from the base, a wire encircles the walls inside the cage (see Fig. 40); The ceiling of the cage, as well as the walls, is made of wire rods, this can be seen in the figure. On fig. 40 on the right is a schematic representation of our cage turned upside down. It is in this position that the plywood (5-6 mm thick) bottom is freely inserted into the cage; freely falling down, it lingers on the stops in (see figure). So that when the cage is overturned, the bottom does not jump out of it, small scarves-stops r are soldered to the tape a in the corners (see figure). A small lockable door is arranged in the plywood bottom, which opens outward; through this door and let a bird or a small animal, like a white mouse, inside the cage. We turn to the manufacture of the box. It is best made from thin hardboard or thick thick cardboard. It is a cube with an edge of 350 mm and opens from two opposite sides, which is clearly seen from the section given in Fig. 41, A. Lids k have a flat shape. A wooden frame made of bars (br) with a section of 20x30 mm is attached to the upper edge inside the box. In this frame, the Bn bunker is attached, which is a box of the type of a truncated pyramid, tapering downwards; it does not reach the lower edge by 125 mm. All internal surfaces of the box are pasted over with black matte paper or painted with black non-shiny paint. Lids are attached to the box with strips of cloth (such as calico or satin), after which the box is glued on the outside with bright colored paper or cloth. The section (Fig. 41, B) shows how a cage turned upside down with a live bird inside is hiding in the lower compartment of our box (under the bunker). In this form, the assistant carried the box onto the stage, holding the bottom cover k1 with his hand, and placed it on a high table. In overturning the box and showing its empty interior to the audience, the magician also kept the bottom lid closed. Having put all the items on the low table into the bunker, the artist took the box in his hands and went up to the ramp to show that the box was filled to the top with the things put into it. Having closed the lid, he returned to the table and placed the box on it, while he turned it 180 ° and placed it on the lid to, that is, the hopper down. Having made "magic" passes with a "magic" wand, the conjurer opened the lid of the k1 box and took out a cage with a live bird (Fig. 41, C). He lifted the cage by the ring at the top of the cage, while the plywood bottom d went down to the stops d, this is clearly visible in our figure. Since the cage is close in size to the size of the box, the audience has no doubt that a "miraculous transformation" has taken place before their eyes. This trick is very beautiful, but its success depends to a large extent on its skillful delivery. When rehearsing a trick, keep this in mind. Author: Bedarev G.K.
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