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Coin manipulation. Tips for a magician

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Find a place in the palm of your hand where the coin would be well clamped, and place it on your right palm. If you have found the place correctly, then palming will succeed; then you can move your right hand as much as you like, clenching and unclenching your fingers, and the coin will not fall out. Naturally, the palm should be turned either down or to the performer's thigh so that the viewer could not see the palmed coin (Fig. 1).

Fig. 1

Having developed the right hand in this way, move on to palming with the left hand, ensuring that both hands are equally developed. You need to practice with various objects. The palmed hand from the side should appear completely empty. At the same time, the fingers move freely, they can take various objects.

The next step after palming is passivation (from the French word passage - transition, crossing). Passages are used to give the viewer the impression that the object passes from one hand to another, while in fact it remains in the same hand. When showing a trick, you should never repeat the same trick several times, as this will arouse the suspicion of the audience.

It is necessary to master several passages, which we give here. In addition, you should come up with your own passivities that are convenient for execution.

The simplest pass. Take the coin in your right hand, placing it on the tips of your middle and ring fingers, and hold it lightly with your thumb, as in fig. 2.

Fig. 2

Then move your thumb away; holding the coin, balancing, quickly bend the middle and ring fingers, press the coin to the palm with them (Fig. 3).

Fig. 3

Immediately palm the coin, tensing the muscles of the palm, and straighten the fingers again, as shown in fig. 1. When exercising, first keep your arm still; only having mastered the movement, perform it, bringing your right hand to the open palm of your left hand (Fig. 4).

Fig. 4

At that moment, when the fingers of the right hand touch the left, the left palm closes, as if covering a coin, and the right palm with an open palm (actually with a coin palmed in it) freely falls to the thigh, where it is easy even to put it in your pocket. Passage done! In all passivations, the movements of both hands should merge harmoniously into one whole, giving the impression that the coin is actually passed from one hand to the other.

Passing is fast. Hold the coin in your right hand so that its edges are captured by the index and ring fingers, while the middle finger supports it from below (Fig. 5).

Fig. 5

Bring your right hand to your left, while slightly tossing a coin with your thumb (Fig. 6).

Fig. 6

The left hand, as in the pass just described, must close at the moment when the fingers of the right hand touch the palm of the left.

Passing "turnstile". This passivation is especially convenient for small coins, which are difficult to pass through in the usual way. Hold your right hand palm up and the coin in your left hand, as in fig. 7.

Fig. 7

Bringing the right hand to the left, bring the thumb of the right hand under the coin, and the remaining fingers should cover the palm of the left hand from above. As soon as the right hand passes the coin, it clenches into a fist. It will appear to the viewer that you are taking a coin from your left hand, grabbing it with your thumb and middle finger. In fact, nothing of the kind, of course, happens, since at the moment when the hands join, you imperceptibly drop the coin into the palm of your left hand (Fig. 8).

Fig. 8

After the right hand passes the left, raise it up, following with your eyes to divert the attention of the audience from the left hand. Do not rush to lower your hand, keep it raised for a while, turning your palm slightly towards you and slightly bending your fingers. After an appropriate pause, palm the coin by holding it in the recess of the palm, then calmly lower the hand to the thigh.

Passivation - a variant of the "turnstile". Hold the coin between the thumb, index and middle fingers of the left hand, as in fig. 9.

Fig. 9

Then, as if taking a coin, make a movement, and the right hand, going from bottom to top, as if sweeping the coin from the left hand. In fact, at the moment when the coin is blocked from the audience, with the fingers of the right hand it is forced to slip from the tips of the fingers into the palm of the left hand, and the right hand immediately rises up, as if holding a coin.

Passing with several coins allows you to pass with three, four or more coins, and the jingle of them in your hand enhances the effect. Coins are taken in the right hand, as in fig. 10, holding in the palm of your hand as close to the hand as possible.

Fig. 10

The right hand is quickly brought to the left so that the fingers of the right hand rest at a right angle on the palm of the left; then the coins in the right hand, as it were, are poured out. Instead of falling into the left palm, they remain in the right and are held in the recess formed by slightly bent fingers (Fig. 11).

Fig. 11

The right hand, touching the left, expands even more, due to which the coins ring loudly. The left hand closes, as if holding coins.

It is necessary to hold the coins with the thumb of the right hand so that, when lowering, it does not cause a repeated ringing of the coins and thereby give out the secret of the passage.

Passing with a large coin. Take the coin with the thumb, index, middle fingers of the right hand and imitate transferring it to the left hand. At the same time, gently move the coin with your thumb to the position shown in fig. 12. She will be held by the pressure of the index finger and little finger on her ribs.

Fig. 12

Passing a coin with a "magic" wand. This passivation is performed while holding a "magic" wand in the hands, which can first be placed in the chest pocket or clamped under the arm, as if wishing to free one's hands. At the end of the passage, the performer takes the stick and holds it in his hand until he is free from the coin palmed in his hand. This distraction can be applied to other passages as well.

Hold the wand and coin in your right hand (Fig. 13), strike the edge of the coin sharply against your left palm and immediately close it. In this case, the coin will move back, it should only be held slightly.

Fig. 13

After that, it will take a position, as in Fig. 14, that is, it will move to the middle of the fingers. The coin will not be visible to the audience, as it is covered by three middle fingers. Quickly bend the fingers of your right hand, wrapping them around the coin. Straight fingers can make viewers suspicious. Care must be taken that, moving in the hand, the coin does not hit the stick: this can cause a sound.

Fig. 14

For those who are starting to master the art of manipulation, I would like to give three pieces of advice:

1. Do not show a single manipulation in the circle of comrades or acquaintances without having learned it "by heart". The first failure or accidental breakdown can discourage you, and it seems to you that you will not be able to master this technique.

2. Make it a rule never to do the same manipulation twice in front of the same people.

3. Never show, even for the sake of a joke, the mechanism of manipulation, otherwise all your future tricks will not have any success with the audience.

Remember once and for all:

Manipulation techniques in themselves are not a trick, it is just one of the means used to achieve the effect. In case of failures, do not get lost, correct them immediately. Improve your skills, hone your artistry, master new knowledge, skillfully use what you know, experiment more boldly and more, and on the basis of old, well-known numbers, create your own, new, come up with original tricks and use them more boldly in your work.

Tips for passing with coins. Several different passes are described here, but the performer can only use those that he likes best and is easier to learn. It is enough to be good at two or three different passes. Their choice depends on the individuality of the performer, on the size of the palm, the structure of the hands. Any method by which a coin can be kept hidden from the eyes of the spectator can be used for passivation. For example, some manipulators hold a coin by pinching it between the fingers or between the thumb and a recess in the palm. Each pass must be carefully worked out and carried out as if mechanically, and both hands must be exactly equally developed.

If you are performing a pass with your left shoulder turned towards the audience, perform a variation in which the coin is passed from the right hand to the left. If you are standing with your right shoulder turned, then apply a pass here, in which the coin is allegedly transferred from the left to the right. This will give you the opportunity to palm the coin more easily during passaging, and will also allow you to discreetly lower the palmed coin into a secret pocket - a poshet, as the manipulators call it. The bag is either sewn on, or the pockets of an ordinary jacket are used for the same purpose.

Practice in manipulation should be standing in front of a mirror. Carefully, slowly, having read the description of the manipulation, think over all the details of its technical implementation, mentally imagine each movement. Picking up a coin, ball or cards, repeat all the movements in front of the mirror - first each separately, and then all together. If you notice an error, correct it immediately. A movement that is difficult to give must be well calibrated in accordance with the text and drawing, refined and trained until it is performed easily and cleanly.

First, learn the number, holding the object in your hands, and then, remembering it well, consistently repeat the trick in front of the mirror, without looking at your hands, already without the object. Carefully follow the thoroughness of working out each movement of the hands and fingers, the accuracy, purity and elegance of performance. Start developing the artistry of the presentation of the number small.

Spectators always closely follow the hands of the performer. Therefore, the illusionist must always follow the gaze of the hand, which, as the audience assumes, supposedly contains a coin or other object. This distraction must be carefully rehearsed in order to accurately apply it when showing tricks. Usually viewers make the mistake of wanting to "catch" the manipulator and following the direction of his gaze. After you master the manipulation of one coin, deal with several (two - three) small coins at the same time. Remember that all the passes and chanting that will be described below are only auxiliary techniques, necessary elements for the performance of the trick, and by no means independent tricks or illusions. Therefore, you should not show individual elements of manipulation just to show off your dexterity in front of your comrades.

If you wanted to show the manipulation of passing the coin, which remains in the same hand of the performer, then you should consider: although the audience will appreciate the dexterity, they are unlikely to be interested in the trick that follows next. If a coin should appear in your hands during the performance of the number, then it is best, without revealing the secret, take this coin out of the jacket, scarf or headdress of the viewer, which will undoubtedly arouse the interest of the public. You can even tell the audience ahead of time where you expect to find the coin, by doing so you will divert attention from yourself, and the audience will follow where you go. This will serve as a great distraction. It will not be difficult to find a coin anywhere, because thanks to passivation, it will always be at the disposal of the performer.

It should be said here that many passivities are used not only to make an object "disappear", but also to secretly exchange it for some other object. These substitutions are the most common maneuver in illusion art. A huge number of tricks are based on such techniques. When such an exchange takes place, the "double" remains in full view of the spectators, while the object being replaced, in the meantime, invisibly passes at the disposal of the performer. Substitution of an object with the help of passivation is called blackmail (from the French word change - change, replace).

There are so many methods of blackmail that it is impossible to describe them all. Having mastered several methods well, having learned to cleanly perform various passages, you will be able to come up with several chantings for yourself. For starters, five tricks that we will describe are enough. They allow you to freely perform all the classic tricks with coins.

1st swap. Task: to replace the coin chosen and marked by the viewer with another. Imperceptibly find from the coins you have the same one as the one marked by the viewer. Let's call this coin "double". Palm imperceptibly in the left palm. Turn this hand back to the audience (Fig. 15). Now the exchange will take place without any difficulty.

Fig. 15

2nd exchange. It is the same as the first, except that here, instead of the simplest pass, a quick pass is used for the right hand.

3rd exchange. Here, too, fast passage is used, but the double is palmed in the right hand instead of the left (see Fig. 4). Taking the coin marked by the spectator with your right hand, make a quick pass with it. At the same time, drop the double from the palm of your hand into your left hand. This is a very good tradeoff. Many magicians perform it so skillfully that they replace the quick pass with the simplest pass, in which case a real coin is placed in their palm instead of a double.

4th exchange. The double is palmed in the right hand, and the marked coin is taken with the thumb and forefinger of the left hand. Using the "turnstile" pass, the performer pretends to take a coin in his right hand, and then at the right moment shows a double, which he had hidden in this hand even earlier.

5th exchange. In the right hand, palm the double and hold the marked coin in the open palm of the left hand. Pick up this coin with your right hand, while releasing a double from your hand, which will fall into your left hand. The fingers of the left hand should be kept slightly bent to better hide the coin. By showing the audience the marked coin, you can say, "You saw me take this coin, I will make it return invisibly now." These words are by no means obligatory for the performer. You can say anything, whatever suits the occasion. Now, with your left hand open, make a simple or quick pass with your right hand, moving your right hand towards your left, but without bringing your hands together. The marked coin will then be hidden after passaging in the palm of the right hand. Immediately open the left hand and show the double; everyone will take it for the coin they just saw.

Author: Vadimov A.A.

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