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EFFECTIVE FOCUSES AND THEIR CLUES Manipulation is the basis of illusion art. Preparatory work on tricks. Exercise. Tips for a magician
Directory / Spectacular tricks and their clues Focuses are one of the favorite folk spectacles. They can be shown everywhere: on theater stages, in circus arenas and entertainment venues, at tourist halts and even at home, at a table among friends. But tricks should not be considered only as an interesting spectacle. In fact, these are peculiar puzzle tasks that an inquisitive viewer tries to solve right there. The task of the illusionist is to show the number in such a way as to make the viewer think, think, at the same time arousing in him even greater interest in the number. Many believe that becoming an illusionist is very simple: it is enough to know the "secret" - and success is guaranteed. Such an opinion is deeply mistaken! To show a trick well, you need to go through a lot of training, learn how to manipulate well, that is, master the technique of your hands perfectly, develop dexterity and artistry. and continuously improve the art of display. The performer must not only have certain knowledge in physics and chemistry, but also have a good command of carpentry and metalwork tools in order to independently manufacture and repair illusion equipment. Only under these conditions can a magician count on success and on personal satisfaction from performances. An illusionist must work hard and hard in order to be able to prepare this or that number well, constantly train his hands, especially his hands and fingers. Without skillful manipulation it is impossible to show clearly, beautifully and correctly most tricks. It would be a mistake to think that manipulation refers only to hand and finger movements. By manipulation, we mean a combination of many movements and turns of the head, torso, as well as the play of the eyes, which is sometimes important in an illusion session. Mastering the art of manipulation for a magician is tantamount to mastering the ABC for a student. This is the same as notes and scales for a musician and a ballet barre for dancers. To achieve the necessary dexterity, the illusionist must train his fingers like a virtuoso pianist. Here we will explain the necessary terminology and give some examples of coin, ball and card manipulation. First of all, a student of illusionary art needs to learn palming well, that is, the ability to covertly and completely imperceptibly hold in his hand, or rather in the palm of his hand, any object, for example, a coin, a ball. This is a simple but very important trick. It is necessary to find such a place in the palm of your hand - a recess in which the object to be palmed could comfortably fit. The palms of the hands of people are different, so it is impossible for everyone to accurately indicate the most convenient place. Place a thing in the palm of your hand so that it can be lightly pressed with the pulp of the base of the thumb to the opposite side, located near the base of the little finger, ring and middle fingers. First, try to hold the object in a horizontal palm, then begin to slightly rotate the hand, holding the object so that it does not fall out, and from the back it is not noticeable that it is hiding in the palm of your hand. On fig. 6 shows the palming of the ball. To prevent the ball from slipping in your hand, it is useful to powder your palm and fingers with rosin powder.
When palming an object, one must hold the hand completely freely, as if there is nothing in it. Learn to palm with both hands, hiding in them a variety of things, different in size. Be sure to ensure that the palming hand from the side seems completely empty, and the fingers move freely and take the items you need. Palming is the letter "A" in the ABC of manipulation. After a thorough skill, you can move on to pass or pass (from the French word passer - to cross, to cross). It is not possible to describe or even list all the passes: each artist tries to come up with his own, the most suitable techniques for him. Therefore, as an example, we restrict ourselves to only two ways of passaging with balls. Passing an object means passing it from the fingertips to the palm where it is palmed, or imperceptibly transporting it from one hand to another. Single passaging is used to transfer the ball from the ends of the fingers, where it is visible to the audience, to the position of palming with fingers (Fig. 7), where it is invisible to viewers looking from the back of the hand, and from this position to transfer to the position of palming into the palm ( see Fig. 6). Manipulation is done like this. They take the ball with the thumb and forefinger and pass it to the recess formed between the bent middle finger and the thumb. Then the ball is advanced to the base of the ring finger and at the same time the middle and ring fingers are bent. The thumb and forefinger are straightened - and the ball is palmed as shown in fig. 7. Pressing the ball to the palm, quickly palm it in it and straighten all the fingers. When performing this pass inconspicuously, remember not to wiggle the rest of your free fingers.
Double passivation serves to invisible transfer of the ball hidden in the right hand to the left or vice versa. Manipulation consists of two parts: palming the ball with the fingers of one hand and palming it with the palm of the other. The palm of the hand with which the ball is received is placed on the fingers of the other hand, palming the ball. There is a reverse technique of passaging, when the fingers of the receiving hand are superimposed on the object, clamped (palmated) in the palm of the giving hand. To make a pass, you need to put both hands together, finding some convincing excuse for this, you can, for example, slightly straighten the sleeve. On fig. 8 shows the moment of such passivation - the replacement of balls. The right hand takes the ball, which the audience sees pinched between the thumb and middle fingers of the left hand. At the same time, the right hand passes another ball, palmed in the palm, and passes it to the left hand, where it is immediately accepted and palmed by the fingers.
Let's consider one more manipulation, which is called blackmail (from the French word changer - to change, replace). As an example, consider the blackmailing with a coin. Passaging is included in this manipulation as a constituent element. Therefore, before moving on to chanting, you need to master the passages well. Coin exchange. 1. Suppose that we need to change the coin marked by the spectator for another one, and put the spectator's coin in the place where it should appear. From his coins, the magician quickly and imperceptibly selects a coin of the same denomination as that of the spectator, palms it in his left palm, and takes the spectator’s coin with his right; since the illusionist's left hand is turned with the back of his hand towards the audience, your palmed double is not visible from the hall. Now it is no longer difficult to replace the coin marked by the viewer with one's own and show it to the audience, who from afar will take it for their own. With the Spectator's Coin, you can now do whatever you want. 2. A double coin is palmed in the right palm. With the same hand, take and hold the viewer's coin in such a way that its edges are captured by the index and ring fingers, and the middle one would support it from below. Bring the right hand (with a coin visible to the audience and an invisible double palpable in the palm) to the left, at the same time lightly toss the coin with the middle finger towards the inside of the palm, where it is grabbed and pressed with the thumb. The left hand closes exactly at the moment when the fingers of the right touch the left palm, and the double imperceptibly descends from the right palm into the left hand. The double is calmly shown to the audience. In fact, the real coin is hidden in the right hand, and you can do whatever you like with it. This is a very simple, but at the same time reliable blackmail. Each magician comes up with his own, the most convenient options for him, which he uses in his performances. All tricks are sharply divided into two large types: manipulation, or, it would be more correct to say, the tricks themselves, and the so-called illusions, or tricks with complex equipment, in which various movements, disappearances, appearances, etc. are most often shown. illusions, the performer sometimes does not require any dexterity or skill, it is enough just to know the device and the operation of the apparatus, while to perform one or another manipulation trick, a lot of serious training is needed. A true artist must manipulate to perfection, and he must include both manipulative and mechanical illusions in his program. For exercises in manipulation and everyday training, we consider it quite sufficient to have several coins of various denominations (one of them must necessarily be the size of an old nickel or a silver ruble) and a set of four balls with a tire. We warn you that table tennis (ping-pong) balls are not suitable for proper arm development: they are very light, and when training with them, you will develop your arm incorrectly. It is best to choose wooden balls with a diameter of 35 to 40 mm. A diameter of 38 mm is preferable: this size is very convenient, fingers easily hold all four balls (Fig. 9). You also need to have a "magic" wand (see the "Magician's Costume. "Magic" Wand. Distractions" section of this edition) and a deck of satin cards with rounded edges. This simple prop is enough for everyday exercise.
We recommend starting your workout with coins and balls. This will develop the dexterity of the palm and fingers, making the hand "soft". Coins and balls are also convenient in that you can always carry them with you and train when the opportunity arises. Learning to manipulate is best in parts. Divide this or that manipulation technique into separate positions and work out each one well, and then put it all together. Movements that for some reason do not work out well must also be worked out separately and, having achieved success, included them in the whole. A student of manipulation usually makes one mistake at the beginning - he tries to achieve, first of all, the speed of execution. This is fundamentally wrong. It is necessary to achieve purity, clarity, and speed will come by itself over time. After mastering the manipulation of coins and balls, you can begin to learn the manipulation of cards. However, even having mastered the manipulation well, the student of magic tricks cannot yet perform in front of the audience. There is hard work ahead: practice rehearsals with a trick and a thorough check of the effect, first in parts, and then as a whole in front of a mirror, where it is easier to see yourself from the side. Then comes the preparatory stage - the demonstration; This is already a serious test of skill. You can study several manipulations with different objects at once, but in such a way that the basic principles of sequence, which were mentioned above, are observed. We consider it quite sufficient for a beginner to master the manipulation of coins, balls and cards, and the manipulation of other objects will then come naturally with daily practice. Do all the necessary techniques in order in front of the mirror, first in parts, then combine all the movements into one whole and, remembering them well, then finish each one in front of the mirror, already without an object (with an imaginary object). After dexterity, lightness, beauty and clarity of movement have been achieved, rehearse the whole trick again in front of a mirror with an object, and then repeat the same movements without looking into the mirror, as if in front of the audience. When manipulating, develop the habit of following the subject that the audience should see with your eyes. If this item is already hidden by you, look where, in the opinion of the audience, it should be now. Your gaze will serve as a great distraction, fixing the attention of viewers in the wrong direction. Also work well in front of a mirror to follow the object with your eyes. In this case, facial expressions of the eyes must be successfully mastered. Your glance, sometimes cunning, sometimes perplexed or intent, will always be noticed by the public, followed by it to the end. Such a moment you should use for passivation or blackmail. Also use the "magic" wand in your manipulations to distract the attention of the audience. At the same time, do not forget about the hand in which the object is not, but in which, according to the audience, it is. When placing this or that thing as if in a hand or in some apparatus, from where it should "disappear", always try to emphasize the moment of the "disappearance" of the object with some distraction - touch the "magic" wand or hand to the object or make passes with your hand . This will enhance the focus effect. The spectators, of course, understand that all your touches or passes do not help the "disappearance" of the object, but since such a disappearance actually happened, then the distraction has the desired effect. The magician needs to learn how to make excellent use of various distractions, which will undoubtedly contribute to his successful performances. Author: Vadimov A.A.
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