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EFFECTIVE FOCUSES AND THEIR CLUES Woman in the air. Focus Secret
Directory / Spectacular tricks and their clues Focus Description: A couch is brought onto the stage. An assistant comes out from behind the scenes. Approaching it, the magician begins to make passes of "hypnosis" (Fig. 147) in the same way as with illusion hypnotic sleep on the edge of a sword.
The assistant, "falling asleep", lies down on the couch and lies on her side; the performer, standing behind, makes passes (Fig. 148), and the audience notices how the assistant begins to slowly rise into the air.
Continuing to make passes, the performer "lifts" the assistant into the air to the level of his chest. The couch is rolled to the side, and the performer is given a large solid hoop, with which he passes several times around the assistant lying in the air (Fig. 149), thus proving that there are no devices around her.
The hoop is given to the assistant, who at that time put the couch in its original place. Making passes, the performer makes the assistant go down on the couch (see Fig. 148). After that, the performer comes forward and “wakes up” the assistant with passes, who gets up, and, “waking up”, bows to the audience, and goes backstage. The assistant immediately cleans the couch. This illusion gives the impression of something mysterious and difficult to explain. To those who are not initiated into its "secrets" it seems at first glance technically difficult to perform. In fact, the number is very simple in technique, easy to perform and quite within the power of an amateur who owns a plumbing and carpentry tool. Props: Couch. "Corset" and pin. Lifting mechanism. Hoop. Couch about 180 cm long, about 55 cm wide and 50 cm high, on four legs with castors. It has four walls, each 25 cm high. The front wall is made on hinges and leans forward to the legs. Glasses are inserted into it, so that the entire interior of the couch is visible. Inside, all the walls are upholstered with black velvet to disguise the "corset" lying on the couch, also sheathed in black velvet. An inconspicuous cutout was made in the back wall, through which the bent ring of the "corset" easily passes. The slits are masked with two strips of velvet that go behind each other: they easily let the rising and falling "corset" through and immediately close, going behind each other. For better camouflage of the "corset" lying on the couch, when upholstered with velvet, it is good to make a small roller four centimeters high along the front edge, which will hide the thickness of the "corset". On fig. 187,1 shows a couch with a "corset" lying on it, and its part, located behind the couch, is shown in dotted lines. For clarity, the front roller, masking the "corset", is missing. The front wall is folded down; the entire couch is shown from above. The "corset" is not visible to the audience: it is sheathed in velvet, masked by the upholstery of the couch and the roller, besides, the spectators themselves are located much lower than the couch, which stands on the stage.
The assistant lies on the "corset". With a pin from under the floor with the help of a lifting mechanism, it is lifted into the air. "Corset" is used here in the same way as in the "Sleep on the edge of the sword" illusion we have described. Therefore, we confine ourselves to brief indications. "Corset" is made according to the height of the assistant from strong thin-walled steel pipes. Its shape is shown in Fig. 187,2. A hole is made at one end, into which pin 3 can freely enter. At the other end, three strips of sheet iron are welded, on which an assistant lies. The left one is for the shoulders, the middle one is for the pelvis, and the bottom one is for the knees. We give you a simplified form of the "corset" because we think it's the best. It has been field tested and has given good results. This form differs from the generally accepted one (see Fig. 187, 2a). It removed the extra bend, as well as the bend near the hole for the pin. This made it possible to make the entire "corset" system much more stable, which is clearly seen even from a simple comparison of circuits. We just have to use a slightly oversized hoop, which does not affect the illusion at all. Such a hoop looks even more impressive than a small one. The hole for the pin is best made semicircular. This will eliminate unnecessary rotation of the "corset" around the pin. Expand the hole at the bottom a little so that the pin can easily enter it. As we have already said, the "corset" is sheathed with velvet to match the color of the upholstery of the couch. Cotton wool is placed on the plates, which is also covered with velvet on top, so that it is softer to lie on them. The pin is made of durable steel pipe or solid steel. Its length and shape depend on the size and system of your hoist. On fig. 187,3 shows the upper end of the pin, which comes out from under the floor and with its turned end enters the semicircular hole of the "corset". Sharpening on the pin does not allow the "corset" to go lower, and the semicircular shape of the end keeps it in one place. The lifting mechanism for our illusion can be of a different system, for example, a jack, a gate. The lifting force should be small, within 70 kg. The assistant rises from the floor by no more than 150 cm. On fig. 188, 1 we have shown the lifting mechanism constructed when this illusion was first shown. Even with such a primitive apparatus, a great effect can be achieved. If you use a light modern krat house or a light hand winch, then the demonstration of the number will improve significantly. Note that the lifting mechanism must be very well attached to the floor under the stage or from below, to the floor of the stage. It is also possible to use an apparatus of such a device that allows it to be installed behind the rear curtain on the stage. At the same time, skip the "corset" a little behind the curtain;
On fig. 188,2 shows our simple winch, which has fully justified itself in practice. A hoop with a diameter of 90 cm is good to make from a brass or copper tube with a cross section of 10-15 mm. Carefully solder it and carefully chrome or nickel plate it. Focus secret: Look at fig. 189, and not only the secret of the illusion, but also the whole technique of its execution will be clear to you. Under the floor of the stage, a lifting mechanism with a pin is strengthened. A hole is drilled in the floor of the stage through which a pin passes. The assistants, taking the couch onto the stage, must put it exactly in place so that when the pin is raised, it enters the hole at the end of the "corset".
As soon as the performer takes the place marked by the dotted line in Fig. 187,2, an assistant, standing below the stage at the lifting mechanism, on a prearranged signal, begins to quietly rotate the handle, having previously marked on the pin the amount by which it needs to be raised so that it fits exactly into the hole in the "corset". The rotation is very slow, so that the assistants, in case of incorrect installation, can move the couch imperceptibly. Again, a conditional signal, elusive to the audience, is given, and the slow rise up to the desired height continues. The raised pin is kept at the same level, then again, on a signal, they begin to lower it. Together with the pin, the “corset” with the assistant lying on it also descends. When the "corset" falls on the couch, the ammonia will come out of the hole, it must be quickly removed down. Now remove the entire installation from under the floor, and after the performance, carefully seal the hole in the floor of the stage with a wooden plug. A few words about preparing for the illusion. First install the lift under the stage and drill a hole in the floor for the pin. Behind the scenes on the couch, carefully place the "corset" and check if it is visible to the audience. It can be hidden by putting a piece of velvet on the "corset" to match the color of the couch. It is best to sew up all three plates for lying in a velvet bag, placing on it a tube to which the plates are welded. How the illusion is shown, we have already described in detail. We only add that it is much easier for the assistant to lie on the "corset" not on her back, but on her right side, facing the audience, with her right hand under her head (see Fig. 148 and 149). The couch can be taken out with the raised front wall. As soon as the assistant lies down on her, immediately fold the wall. When the assistant rises higher, the couch is easily rolled to the side; as soon as the assistant starts to go down, she is brought back to the same place. When the assistant is lowered to the level of the couch, the front wall can be raised. After demonstrating the performance in a couch closed on all sides, it is easy to remove the "corset". then everything is taken backstage. It only remains for us to explain how to handle the hoop. The performer takes the hoop in his right hand (Fig. 190) and leads it from position 1 to the feet of the assistant (position 2). Then the end of the hoop, marked with the letter A, is transferred in the direction indicated by the arrow to position 3. From here it is led along the arrow in such a way that the end B, passing along the body of the assistant, goes to her head, and the end A would go to the arc of the "corset "to position 4. Next, hold the hoop behind the head, move it to the left along the body (position 5) and then to the left, to the final position 6. If this is done quickly and without hitting the assistant, then it will seem to the audience that you have passed the hoop around her body. All this should take you no more than 8-10 seconds. You can also do it again, starting with the legs. With practice, you will easily find your own way of moving the hoop.
Usually, illusionists, performing this number, put on a dressing gown, which easily made it possible to disguise the pin and the "corset". We advise against following this bad example. Perform the number in the same costume in which you perform, just put your legs together, pass the pin behind them and do not move from your place during the demonstration of the number. It's not that hard to do. On the side at a short distance, you can put small screens or move the side wings closer. The part of the "corset" that wraps around the legs can be sheathed by the mother to match the color of your trousers, which will make this part hardly noticeable to the audience. Author: Vadimov A.A.
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