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EFFECTIVE FOCUSES AND THEIR CLUES A session with magic boxes (several tricks). Focus Secret
Directory / Spectacular tricks and their clues Session description: The artist takes a small oblong box on the desktop and takes it to the forefront. After greeting the audience, he begins the performance. Opening the lids in turn (Fig. 95), the magician shows all three sections of the box from his hands - they are empty.
Putting the box vertically on the table, which stands at the forefront, the presenter opens the lids at the same time, introducing a "magic" wand into each compartment. This once again convinces the audience that there is nothing in the box. Then the performer puts the box on the table with the lids up, takes out a bright ball 4-5 centimeters in diameter from his pocket, pulling up his sleeves and baring his wrists, shows the ball, tosses it several times, hits it on the floor and, catching it, holds it in his hand. Following this, he gets up at the table, opens the lid of the middle compartment 2, lowers the ball into it, closes the lid, takes the box in his hands and goes out with it to the ramp. With the index finger of his free hand, he points to the middle cover, as if to say: "You saw that the ball is here," and then opens compartment 1 and takes the ball out of it. Turning the box with the lids towards the audience, the artist opens them one by one, showing that everything inside is empty, puts the ball into compartment 3 and, turning the lids up, takes it out of compartment 2. He does this several times, and in all cases the ball passes from one departments to another. Then the host puts the box on the table, throws the ball up, hits it on the floor, stands at the table, lowers the ball into compartment 3, closes the lid and silently points his finger at lid 2: they say, the ball should be under it. He opens cover 2, but there is no ball in the compartment. Taking the box in his hands, the magician shows the audience that there is no ball in this compartment. Lowering the lid, he thinks. As if realizing, he opens cover 3, but the audience sees that there is no ball here either. Lowering this lid as well, the artist thought again. Opens cover 1 - and this compartment is empty. The ball is gone. The illusionist puts the box on the table, with the lids up, makes a few passes over it with a "magic" wand, and then takes the ball out of compartment 2 and leaves the lid open. He throws the ball into the front rows for inspection. Having received it back, he hides it in his pocket, shows his hand so that the public does not think that he took something in his pocket, goes to the box to close the lid 2, and, looking into the compartment and seeing something there, is extremely surprised. The artist mysteriously looks at those present, pulls up his sleeves - everyone sees that the magician's hands are empty. Having lowered first one and then the other hand into compartment 2, he slowly pulls out a long colored ribbon. Behind the first ribbon, two more ribbons are pulled out, just as bright and long. Then the magician takes out three handkerchiefs one by one, lifting and turning the box, shows those present that the compartment is empty, puts the box on the table and takes out several more bright, multi-colored ribbons from compartment 2. He hangs ribbons and scarves on thin ropes or strong threads stretched on the stage. He does it with taste, so that the hung objects become a decorative decoration of the stage. After that, the performer thanks the audience for the applause and leaves the stage. The magician's assistant appears, he takes away the box, and then the table that stood on the stage, and brings the stand a onto the stage (Fig. 96, A). The assistant puts the stand on the proscenium, shifting to one edge of the stage, 1,5-2 m from the side wings, and remains on the stage himself.
An illusionist comes out from behind the curtains with a small box-suitcase in his hands (Fig. 96, b). He shows the suitcase from all sides, lifting it, sets it on a stand and fixes it. The assistant actively assists in setting up and securing the suitcase on the stand. Artists stand on both sides of the stand, as shown in Fig. 96, B, the magician opens and throws down the back wall of the suitcase, and his assistant - the front. The audience sees that the suitcase-box inside is completely empty. The assistant lifts and locks the front wall of the suitcase, and the magician - the back. Both move away from the stand, while the artist goes to the side of his assistant and becomes closer to the stand with the suitcase. Having performed the "magic" passes, the magician approaches the suitcase. Having broken through a small hole in its front wall (this wall is a wooden frame sealed with one layer of thin writing paper), he takes out a bright colored garland through it, glued from smoking thin paper - below we will describe how it is made. He gives the garland to the assistant, who hangs it on threads stretched out on the stage. From this hole, the illusionist takes 6-8 garlands, and his assistant hangs them on the stage. The artist draws out the garlands gradually and slowly, carefully straightening them. The performer breaks a new hole in another part of the front cover and extracts the same number of garlands from it, and the assistant hangs them up. The stage, filled with garlands, becomes brighter and more elegant. The illusionist breaks through the hole again and pulls out 8-10 bright and long ribbons from the suitcase through it, the assistant barely has time to hang them up. From the next hole, the artist takes out a thin bright shawl. So, breaking through the wall in different places, he extracts several large colored scarves, a few more ribbons and garlands; he also takes out many small colored handkerchiefs, connected in a single chain. In conclusion, the magician draws several fresh flowers one by one from the suitcase; of these, he makes a small bouquet, which he throws to the public. This is where the focus ends. Bowing, the presenter leaves the stage. The assistant adjusts the objects hung on the stage, obtained from the "mysterious" suitcase, and then takes the suitcase, along with the stand, backstage. From there he takes out and puts two tables in the foreground. One on legs of normal height (70-80 cm from the floor) and with a small lid, and the second with a large lid, but low (40-50 cm from the floor). The low table is placed in front of the high one. The assistant leaves and returns with the leader, they take out an elegant chest (Fig. 97, A), which they put on a high table. Standing on both sides of the table, the artists tip the chest on its side, opening the lid, showing its empty inside to the public, as shown in Fig. 97, B, close the chest with a lid and return it to its normal position.
The assistant moves away from the table, and the magician performs his "magic" passes over the chest. Then, pulling up his sleeves higher, he opens the lid of the chest, shows that he has nothing in his hands, and after that, slowly, unhurriedly, pulls out a paper garland from the chest, even brighter and longer than those that were in the previous trick. The host gives the garland to the assistant, who hangs it on the ropes. So one after another, the artist takes out several garlands, as well as several lanterns, which the assistant hangs around the stage. A beautiful bright tablecloth is taken from the chest, the artist covers the low table with it. An assistant who came up to the table helps the host to tip the chest on its side (Fig. 97, B), the audience sees that the chest is still empty. Again, the chest is lid up, and the illusionist performs "magical" passes over it. Then he extracts several circles of serpentine from it one at a time, spreads them around the stage (above the ropes), and also throws the serpentine into the hall. Serpentine on the stage and in the hall not only decorates, but also enlivens the performance. There is high spirits in the hall. A vase with fresh flowers appears from the chest - it is placed in the center of a low table. Several multi-colored bags are taken out, they are hung on ropes. The artist takes out and puts three glasses of glass on the table. Then he pulls out one by one 8-10 long and bright ribbons, which are also hung on ropes. Next, a glass vase with sweets is removed from the chest, it is placed on a low table. Again, the artists, having knocked over the chest, show those present that it is empty, and then, having placed the chest normally, the magician takes out of it many different decorative paper and cardboard crafts: flowers, masks, lanterns, funny animals and birds, etc. All this is hung on the stage, it becomes bright and festive like a carnival. In conclusion, a bottle of lemonade and a key to open it are removed from the chest, both are placed on a low table. The table with the chest is moved to the back of the stage, and the viewer is invited to the stage from the near rows. Having opened a bottle of lemonade, the magician pours three glasses: for the audience, the assistant and himself. Offers the viewer to taste the "magic" drink, asks if the "guest" liked it. The viewer is treated to sweets from a vase. Escorting him to the hall, the presenter takes with him a vase of sweets and treats them to other spectators sitting in the hall. Returning to the stage, the presenter takes a bouquet of flowers from the table and scatters them to the audience. Thus ends this extraordinary performance. Focus Secrets: As it is easy to understand, the secret of the first trick lies in the box itself, which is made of wood; all its details should be well adjusted so that during the show they move easily and do not make noise. On fig. 98, A is a general view of the box with the front wall removed. It can be seen from it that our box has two bottoms, the distance between them is 55 mm; the bottom, which is inside, has a square cut-out window (100x100 mm) in the center. Figure 98, B shows a part sliding inside the box. It consists of two square (100x100 mm) compartments, one of which - b - without a bottom. Thanks to this detail, the viewers get the impression that our box inside is divided into three separate compartments. The lids of the "compartments" should be closed tightly to prevent spontaneous opening of them during the session. It is best to mount them on hinges. The box inside and all the parts in it are painted with black matte paint. When showing tricks, the internal sliding part always occupies one of two positions - either the extreme left (Fig. 98, C), or the extreme right (Fig. 98, D).
When, at the beginning of the show, the artist placed the box vertically (on the priest) and simultaneously opened all three lids, the sliding part was in the extreme right position and at the bottom, as shown by the arrow in Fig. 98, D. At the same time, the bottom of the compartment closed a square cutout in the middle bottom of the box. The sliding part was in the same position when the performer placed the ball in the middle compartment of the box. Taking the box in hand, the magician was the first to raise its right end, while the sliding part moved to the extreme left position (Fig. 98, B) and, thus, the ball ended up in compartment 1. The artist used the ball, not the ball, because the ball does not make noise when rolling it inside the box. Before opening the lids and showing the compartments of the box empty, the performer, lowering the right end, moved the sliding part to the extreme right position (Fig. 98, D) in order to close the window in the bottom under the middle lid. So throughout the trick, imperceptibly moving the sliding part from one position to another, the illusionist makes the ball "pass" from one compartment to another and even "disappear" altogether. As for the ribbons and handkerchiefs that the leader takes out of the box, they were previously hidden by him between the double bottom of the box, in compartment a (see Fig. 98). When charging this compartment, you need to take into account the order in which things are removed from the box, things should not interfere with each other. The ends of all ribbons and handkerchiefs should be under the cut-out window in the middle bottom so that they can be easily found and taken at the right time. Our "magic" box can be widely used by you in other tricks and not only, as described here, but for example, for the "disappearance" of objects (in compartment a) or for various "transformations" (substitution of some objects for others), etc. . The support that participates in the second focus is quite clearly visible and understandable from Fig. 96, A. It is made entirely of wood and "silvered" (with aluminum powder over warm enamel paint). Its height is determined by your height, and its width and depth are determined by the dimensions of the suitcase-box, which should not exceed 13x40x50 cm. There are two small pins on the top platform of the stand that fit into the corresponding recesses in the bottom of the suitcase, which prevents the suitcase from lateral displacement. Hooks on the sides of the stand fix the suitcase in a fixed position. On fig. 99 you see a "magic" suitcase-box. Its base is made of planed boards and can be painted or pasted over with material. At the top there is a handle for carrying the suitcase and two eyelets for hooks that lock the front and back walls. On the side walls, closer to the base, there are also rings for hooks that fix the suitcase on the stand. The front and back walls are hinged to the bottom of the base so that they can fold down.
The front wall is a wooden frame sealed on the inside with a sheet of writing paper. The back wall only looks like the front from the outside, but on the inside, over the paper, a sheet of thin plywood is nailed to it, to which a box is glued, divided inside by partitions into several compartments of different sizes, which is clearly visible in our figure. The depth and width of this box correspond to the internal dimensions of the base of the suitcase, and its height should be such that when the back wall is closed, the box enters the base completely freely. In the compartments of this box, those objects that the magician takes out during the session, breaking through the front wall, are charged. When all the items are fully loaded into our box and marked on the front wall of the place where the paper will break through, the box is also sealed with a sheet of writing paper so that the items in it do not fall out when the back wall is opened and lowered down. When loading fresh flowers, it is advisable to wrap the bouquet in a plastic bag so that it does not wet the paper wall of the suitcase, but you need to put it in such a way that the flowers can be easily pulled out one at a time. Now you understand why, showing the inside of the suitcase, the back wall folds first, then the front, and they are closed in the reverse order; at the same time, the artists stand close to the stand, covering the secret device on the back wall of the suitcase. Breaking through the paper and pulling out the objects, the artist does it in such a way that the audience does not notice the objects ahead of time. You can charge the suitcase with any things, at the request of the illusionist; this allows this unit to show many different tricks. Some magicians, for example, load live pigeons into a suitcase. The chest, from which the illusionist took out so many different objects in the last trick, is made of wood, on the outside it is covered with colorful material, on which silver strips of cardboard are pasted; handles - decorative (can also be made of cardboard). Inside the chest is painted in any color with oil paint for two times. On fig. 100 shows a chest tilted on its side, so the artists demonstrate its insides to the audience. You see that the bottom of our chest is arranged in an unusual way. It consists of two parts - the bottom itself and a vertical wall connected with it at a right angle, which, in an overturned chest, viewers take for its bottom.
Tilting over, the chest rotates on the pins O (see Fig. 100) located on opposite ends of the chest. When the chest is placed in its normal position, as indicated by the arrow in our drawing, the objects hidden from the audience by the vertical wall are inside it. Together they carry the chest onto the stage, holding it under the bottom. These chests come in a variety of sizes, depending on what the illusionist intends to extract from it. There are chests in which 2-3 adults can hide at the same time. The approximate dimensions of our chest without a lid are 50X80X50 cm. When placing various objects in the chest, you need to remember the order and sequence of their "appearance" from the chest, that is, the objects should be easily removed during the presentation. It is most convenient to use folding things to charge the chest, as they take up little space. Such things include various carnival decorations, garlands, lanterns, funny animals and birds, flowers, etc. They are made of bright colored paper and are sold in toy stores, especially there are many of them on sale for the New Year holidays. However, folding props can be made by yourself. If you have sheet smoking paper, then you can make elegant folding garlands out of it yourself. Smoking paper is easily dyed with aniline dyes (paints for fabric), diluted in water, and in order to prevent the paper from getting wet, proceed as follows. A rubber or just a wooden rotating roller is dipped into the paint and a sheet of paper is pulled over it. The dyed sheets are dried by hanging them on stretched threads, like linen on a line, and then ironed with a warm iron. A template circle with a diameter of 6-8 cm is cut out of cardboard (Fig. 101, A) and, putting it on a stack of paper, circles are cut out of paper using a safety razor blade. The number of paper circles in a garland depends entirely on its length, we recommend a length of no more than 125 cm.
When the circles are cut out, they start gluing them together. On the first mug, four dots are applied with glue at equal distances from one another and the next paper circle is placed on top; four glue points are also placed on it, but in the intervals between the underlying glue points, and a third circle is glued, on which the glue points are applied exactly as on the first one (Fig. 101, B). So, alternating glue dots, glue all the circles together into one garland. According to the template, two circles are cut out of cardboard, which are glued to the ends of our garland. Small wire hooks are attached to these circles (Fig. 101, B). With the help of these hooks, it will be easy to hang garlands by catching them on the ropes stretched on the stage. When folded, the garlands take up very little space, which is their convenience when charging various devices, such as those described here. For the manufacture of garlands, they take quick-drying glue (such as dextrin) and such a density that it does not leave too large greasy dots. You can make folding props out of cardboard. On fig. 102 you see the handbag in the unfolded form (A), it is in the folded state (B) and its section at the moment of opening the bag (C).
From these drawings, the structure of the folding bag is completely clear. By this principle, you can produce other props. Outside, these crafts are pasted over with bright colored paper or cloth, and inside their individual parts are interconnected on a material (such as satin or calico), this greatly increases the service life of such a product. Author: Bedarev G.K.
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