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EFFECTIVE FOCUSES AND THEIR CLUES A session with liquids (several tricks). Focus Secret
Directory / Spectacular tricks and their clues Session description: Entering the stage, the illusionist became interested in the magazine lying on his table. Having looked through it, he shows the magazine to the audience: the magazine is just a magazine, nothing suspicious can be seen in it. The artist claps his hands, and an assistant comes out to him with a jug of water and a large rinse cup on a tray. Having rolled up the magazine into a tube and taken a jug, the performer pours water into this tube, he holds the jug high (Fig. 82) - the audience can clearly see how the water is pouring, but it remains entirely inside the magazine, and does not spill, as one would expect.
The jug is placed on a tray. The presenter unfolds the magazine, it is dry, there are no signs that water was poured into it. Having closed the magazine, the magician turns it upside down and confetti pours out of it. Then the illusionist flips through the magazine, closes it and, taking a rinse bottle, pours water from the magazine into it. Unfolding the magazine again, he shows the middle of it to those present, and then, closing it, places it on the assistant’s tray. Bowing his head, the artist thanks the audience for their attention and, after a short pause, moves on to the next trick. He takes a glass from the work table, pours some water into it from the jug that the assistant is holding, and places the jug with the remaining water on the work table; the assistant leaves the stage, taking away the tray with the rinse. After taking a few sips, the performer puts the glass on his table. Taking the bag lying there, in which stores usually sell bulk goods, he straightens it and, turning it over, shows that it is empty. Holding the bag by the edge in his left hand, he lifts the glass with his right hand and, having finished the rest of the water, lowers the glass inside the bag. The artist holds the glass inside the bag by the top edge and twists the mouth of the bag so that it tightly clasps the top of the glass - this is what the audience should see. And suddenly, with a sudden quick movement, he crumples the bag together with the glass into a small lump, throws it up, catches it, and then throws it backstage. After this, the presenter shows his empty hands to the amazed audience and slowly leaves the stage. After a short period of time, he comes back with a small square piece of drawing paper. Having shown the paper from the stage, the performer descends into the hall and, going around several people sitting in the nearby rows, gives each of them a sheet of paper for review. Returning to the stage, he rolls up a small little paper from this paper, shows it to the audience from all sides, goes to his work table, standing in the middle of the stage, and takes a jug of water. Approaching the ramp, he pours a thin stream of water into the tank; those present not only see, but also hear the water pouring. Having poured the water, the artist takes the jug to his table and returns to the ramp, carefully carrying the water in a paper container, holding it with both hands so as not to spill it. Approaching the ramp itself, he raises the tyurik high above his head and, swinging strongly, splashes water into the hall. The faint of heart even squealed in surprise and covered themselves with their hands in defense; some people jumped out of their seats. But the fear was in vain: not a single drop of water splashed out of the tank. There was excitement in the hall, he took in the joke. The magician holds the tyurik-funtik with its mouth down, and then, unfolding the sheet, descends into the hall; the spectators he approaches are personally convinced that the leaf is the most ordinary and completely dry. Returning to the stage and allowing the audience to calm down, the artist begins a new trick. Rolling up the pound again, he shows that it is empty inside. With a clap of his hands, the presenter calls an assistant, who brings out a small transparent jug of milk on a tray. Taking the jug, the artist pours milk into the tyurik. A few drops of milk flow out from the lower end of the pound directly onto the floor. Noticing this, the magician clamps the end with the hand in which he holds the tyurik, and the flow stops. After pouring out about half the jug of milk, the presenter places the jug on a tray and the assistant carries it off stage. Carefully holding a pound of milk, the illusionist seems to once again want to throw the contents of the tyurik into the hall - this causes excitement in the distant rows, and those sitting closer to the stage glance with caution. But the artist, smiling affably, calms the audience. Throwing the pound high right above him, he catches it and, unfolding the paper, shows that the milk has disappeared. Bowing, the illusionist leaves; An assistant appears on the stage, he slowly puts things in order, preparing the stage for the next trick. Having finished cooking, the assistant remains near the work table. The magician appears with a large bright shawl in his hands. Stopping in the middle of the proscenium, he shows both sides of it with wide strokes, holding one corner with his right hand, throwing the shawl up, which finally convinces those present that nothing is hidden in the shawl. An assistant approached to the right of the leader. Taking the shawl by two adjacent corners, the artist throws it over his left shoulder, the assistant immediately picks up the end that has fallen on the leader’s back, and with the other hand takes the edge hanging in front, as shown in Fig. 83, A.
A moment - and the shawl hangs on the illusionist’s right hand, as shown in Fig. 83, B. Taking the shawl by the middle with his left hand, the presenter pulls it off and gives it to the assistant, who goes backstage. Spectators see in the hands of the magician a vase of water in which live fish are swimming (Fig. 83, B). The artist walks along the ramp so that those present can have a good look at both the vase and the fish in it. Scooping up some water with his left hand, he splashes it on the floor so that everyone can be sure that there is no lid or film on the vase, but there is a lot of water in it - almost to the brim. The performer places a vase with fish in full view of the audience on a separate table standing on the proscenium. This trick is very impressive, and the audience rewards the artist with applause. He bows, walking backstage, but at this time his assistant comes onto the stage with a bouquet of fresh flowers. He explains with gestures that these flowers were given to him from the audience, as a sign of gratitude, from the public. The artist asks the assistant to stay, returns to the middle of the stage and, pressing flowers to his chest and bowing low, once again thanks those present. Then he asks the assistant to bring a flower vase and a jug of water from the work table, which he does. The assistant holds the vase, and the leader, holding the flowers in his hand, lowers only the ends of their stems into the vase and pours water. An assistant holds the flowers in a vase of water, while the artist takes the jug to his table, where he simultaneously takes a colored scarf. The audience clearly saw how water was poured into the vase, and its level was clearly visible through the transparent walls of the vessel. Having familiarized the audience with the handkerchief, tossing it, and then passing it through clenched fingers, the illusionist approaches his assistant. Having wrapped the vase with a scarf, he passes the ends into the free hand of the assistant, one by one takes out all the flowers from the vase hidden by the scarf and, going up to the ramp, scatters them into the audience. Then the presenter approaches the assistant and takes out the vase from the scarf; the assistant leaves, taking away the handkerchief. Focus Nick with the vase approaches the edge of the stage; the audience is very surprised when they discover that there is not a drop of water left in the vase, and that the flowers thrown from the stage have wet stems. The artist explains that the flowers drank all the water. With this focus we will end our session. Focus Secrets: As you could easily guess, the magazine had a secret, since water did not pour out of it. The illusionist made a waterproof bag from two sheets of plastic film, secured it between the pages of a magazine and poured water into it. In Fig. 84 this device is shown in full.
The dimensions of the polyethylene sheets were 1,5-2 cm smaller than the dimensions of a magazine page ("Ogonyok", "Smena", etc.). By placing polyethylene sheets one on top of the other and running a table knife heated to 70° along a ruler or a not very hot soldering iron, the artist welded the sheets together (you can see the welding lines in our picture). In this case, you should have a piece of unnecessary polyethylene on hand and try a heated knife on it, since overheated metal does not weld, but cuts polyethylene. The plastic bag is sewn with threads over the edge to one of the pages in the middle of the magazine - this is shown in the figure. An adjacent page is glued on top of the bag, the edges of which are smeared with rubber glue. The page to which our package is sewn is also glued to the adjacent one with rubber glue so that the threads are not visible. But when gluing, it is necessary to provide a device between these pages - a pocket for confetti. When the magician rolled the magazine into a tube, he inserted the middle and index fingers of his left hand inside the plastic bag and thereby opened its mouth - this makes it more convenient to pour water into the bag. At the same time, it seems to the audience that water is pouring into the middle of a tube rolled up from a magazine. By turning the magazine upside down in the direction indicated by the arrow in our drawing, the performer transferred the water into the cavity formed by the diagonal welding line, so the water did not spill out, but confetti fell from the overturned pocket. When the artist once again turned the magazine in the direction opposite to that indicated by the arrow, water from the bosom fell onto the bottom of the plastic bag and along the weld along the fold line of the magazine completely poured into the rinser. For the second trick, take a smooth round glass and make a cylindrical case without a bottom from transparent acetate film (photographic film). This case is on the glass throughout the entire performance, but as soon as the artist slightly loosens the fingers gripping the glass, it will slip out of the case under its own weight. This is exactly what the artist did before he put the “glass” in the bag: while carrying the glass at the table above the sideboard, he loosened his fingers, and the glass, slipping out of the case, fell into a special box lined with batting standing on the sideboard. A cardboard circle, equal in diameter to a glass, is suspended from strings in a bag. When the performer lowered the case from the glass, which the audience took for a real glass, he placed a cardboard circle horizontally on the case and, holding it in this position with his fingers (on top of the bag), began to twist the mouth of the bag. The cardboard circle compressed in this way misled the audience. It was not difficult to crush such a “glass”. The sheet of drawing paper that the magician gives you to examine is the most ordinary one. The secret of the third trick lies in a small cone-shaped sideboard, glued together with dichloroethane from thin plexiglass; the sideboard has a small hook with which the cone is suspended behind the back of the chair standing next to the illusionist’s work table, clinging to a loop screwed there (Fig. 85, A). Having rolled up a tyurik from drawing paper, the artist approaches the table for a jug of water and at that moment, carrying his hand with the tyurik behind the chair, manages to pry the sideboard cone inside the tyurik. You need to learn how to do this accurately and quickly, with a natural movement, without looking at your hand. The tyurik is held with a high edge facing the audience so that they do not notice the hook of our sideboard (Fig. 85, B). Having poured the water, the performer takes the jug to his work table and, carrying the jug behind the back of the chair, manages to leave there, hooking the hook to the loop, the sideboard with the water in it. That's the whole simple secret of this trick. Now you understand why, when the spectators re-examined the paper, they did not even find traces of water on it.
For the next trick (with milk), you will have to make a special jug yourself. Shown in Fig. The 86 jug is made based on the measuring cups that are sold in hardware stores. These mugs are convenient because they are made of plexiglass. From plexiglass you will make (and glue with dichloroethane) a truncated cone (Fig. 86, A), which you will glue to the bottom inside the vessel; in this case, the side seam of the cone gluing must be installed opposite the handle - this way it will be invisible to the audience.
Milk is poured only into the gap between the walls of the vessels, but to viewers who do not know our secret, it seems that the entire jug is filled with milk. If we tilt our jug, pretending that we are pouring milk from the jug, then it, overflowing through the wall of the inner cone, will overflow into it. So that the audience cannot notice the secret of our jug, stripes must be applied on its upper edge and at the base and paint the handle (Fig. 86, B). These stripes are best done in the following way: with insulating tape made from plastic film, seal the places on the jug that should not be touched by paint, and paint over the spaces between the stickers. In this case, it is better to use enamel paint. When the paint begins to set, carefully remove the tape. The painted stripes are clear and even. The smaller the gap between the walls of the vessels, the more milk “can be poured out” from the jug. When “pouring” milk into a tyurik, the jug should be placed with its spout on the low part of the tyurik’s edge, and the high part should be used to cover it from the audience. As you remember, during the performance of the trick, several drops of milk spilled out of the tyurik onto the floor; this is done this way - having rolled up the jug, the magician did not crush its lower end, and thus he held a kind of paper “funnel” in his hands; by sharply tilting the jug, the magician manages to splash out a little milk, which immediately pours out through the funnel onto the floor. After this, the artist crushes the tip of the tyurik, as if to prevent the milk from spilling out; in fact, he simply no longer splashes it out of the jug, but, carefully tilting it, pours the milk into the cone. At the same time, the level of milk visible to the audience decreases - they think that the milk has been poured into the tyurik. After finishing the milk trick, the illusionist left the stage. Behind the scenes there was a glass vase of water containing live fish. This round vase should have a diameter of 20-22 cm and a height of 6-7 cm. To prevent water from spilling out of the vase until the right moment, a rubber lid is pulled over it, which is made from a pharmaceutical rubber ice pack. A neck is cut out of the bubble and the resulting kind of rubber beret serves as a reliable lid for our vase (Fig. 87). Putting the lid on the vase, squeeze out the air from under it. When the artist goes backstage, he places this vase under the vest on the left side, where there is a special pocket for it, into which it fits freely and is submerged halfway. The vase is placed with the lid towards itself, so it is less noticeable to the audience.
Under the cover of a shawl, the artist with his right hand takes out a vase from under his vest and, holding it, as shown in Fig. 83, B, pulls off her shawl at the same time as the rubber cover. If necessary, live fish can be replaced with small plastic ones (toys), but water must be poured inside them, otherwise they will not swim in the water, but on top of it. The vase with such fish must be rocked and turned all the time, then the fish will swim as if they were alive. Our last artist performs a trick with fresh flowers drinking all the water from a flower vase. How did this happen? First of all, we need to talk about the vase itself (Fig. 88). For this trick, it is best to take a crystal vase with a diamond pattern (1), but you can also use a glass vase with a pattern painted on it (2). A sideboard bag corresponding to the internal dimensions of our vase (3) is welded from thin transparent polyethylene and inserted inside it (4). If the top of the vase at the edge is slightly moistened with water, then with its help the polyethylene can be firmly glued to the glass. This will make it much more convenient to pour water “into the vase.” Our sideboard has a tongue that hangs outward, making it easy to pull out a plastic bag from the vase at the right time; the tongue is made of two layers of polyethylene.
Now let's follow the technology of the trick itself - the performer puts flowers in a vase, and then pours water into it, holding the bouquet with his hand. The assistant holds the vase so that the sideboard's tongue faces him; holding the tongue with your finger, it makes pouring easier and prevents accidental penetration of water directly into the vase. By wrapping a scarf around the vase, the illusionist completely hid the vessel from the view of the audience. Then the flowers were taken out of the vase, while the water level dropped sharply, and therefore, when the artist removes the vase from the scarf, lowering it down, his assistant easily lifts the sideboard with water, which he holds by the tongue, and, under the cover of the scarf, takes it backstage . Author: Bedarev G.K.
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