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EFFECTIVE FOCUSES AND THEIR CLUES Mysterious cabin. Focus secret
Directory / Spectacular tricks and their clues Focus Description: Uniformists lay a carpet on the arena or on the stage and put a frame of thick bars on legs on it (Fig. 164). Two shields of boards are placed on top of the frame, forming the floor of the tent, measuring 1,5x1,5 m.
When uniformitarians carry shields, they seem to accidentally drop one shield and turn the other over, showing the audience that the shields have no secrets. The shields placed on the frame become the floor of the booth, a rug the size of a square meter spreads on them. Eight holes were made in the floor (in the shields) and in the floor stand, two in each corner, for installing frames in them. Uniformists take out in turn four light wooden frames measuring 1,4 × 2,1 m. Frame bars from slats 55-60 wide and 35-40 mm thick. Nickel-plated metal rods are attached to the upper and lower slats of the frames, on which heavy curtains are put on rings. Curtains can be moved along the rods on the rings, they should be wider than the frames, made of colorful dense material with a flannel lining inside - then they will lie in beautiful decorative wide folds. Each of the four frames has two pins at the bottom, which are inserted into holes in the booth floor. At the corners, the frames are fastened with hooks for strength (Fig. 165).
A fifth frame is placed on top of the cabin, also covered with cloth attached directly to the frame. This frame is made according to the size of the booth and forms its ceiling. The fifth frame is placed only for performances in the circus, where spectators can sit much higher than the booth. The installation of the booth in the arena is accompanied by running around and even imaginary problems among uniformitarians. When the booth is ready, the uniformers check it. They walk through the booth and then draw the curtains tight. The illusionist sits down in a chair and begins to tell a story. Then the orchestra enters, the music plays, the spotlights brightly illuminate the booth with multi-colored lights. The curtains of the tent shudder, slowly move apart, and a ballerina in a tutu comes out of the booth (Fig. 166).
Having entered the arena, the ballerina performs a dance and, at the end of it, enters back into the booth. Then the uniformers quickly dismantle the booth and take it piece by piece backstage, again "accidentally" showing that all parts of it have no devices. You can enhance the effect by continuing this illusion. The ballerina at the end of the dance enters the booth and pulls the curtain tightly behind her. The illusionist, as if waking up, follows her into the booth and immediately, having passed through, comes out from the opposite side of the booth and looks around in surprise. At his signal, the uniformed men rush into the booth one by one and quickly take it apart piece by piece, gradually taking all the details backstage. Focus secret: Of all the components of the booth, only the fourth side frame with a curtain was prepared. In the curtain, on the inside, a pocket of such a size was imperceptibly made that a uniformist's suit and wig could be placed in it. The inner, side of the curtain is made of the same motley fabric as the outer. This allows you to better mask the pocket cuts. Among the uniformists setting up the booth, at the moment when it is almost ready, a ballerina in a uniform worn over her ballet costume comes out from behind the curtains with the ceiling of the booth. The light is reduced by this time. The ballerina, having entered the booth, quickly sets up the ceiling and hides in the corner of the tent, without interfering with the passage of other uniformists. After passing through the booth and proving that there is nothing in it, the uniformitarians draw the curtain behind them. The ballerina, who by this time has taken off her uniform (which fastens with large buttons), puts it in the inside pocket of the side wall. Having adjusted the folds of the tutu and her hair, the ballerina enters the arena at the right time. At the end of the dance, slowly entering the tent, the ballerina quickly and carefully, so that the curtain does not sway, takes her uniform out of her pocket and puts it on over her tutu. The sashes of her trousers and jacket in her uniform should be made on wide strong springs so that they are held firmly at the waist. The ballerina fastens the top hook of her jacket at the collar and puts on a wig. At this time, an illusionist passes through the cabin. Its passage gives the ballerina enough time to change clothes and justifies the inevitable trembling of the booth walls when taking out and hiding the costume. The ballerina, having put on a uniform, takes the ceiling with other uniformitarians who entered the tent and quickly takes it backstage. The rest of the uniformers dismantle and carry away all the details of the booth. Notes on the demonstration of the illusion. Using this illusion, you can demonstrate the attraction illusion "The disappearance of one of the spectators in the arena of the circus." In this case, at the invitation of the artist, a "spectator" (a disguised uniformist, over whose uniform a light long coat is put on) enters the arena from the audience. Entering the booth, the "spectator" quickly takes off his coat, hides it in the pocket of the curtain and quickly exits along with the uniformists who have entered there, who begin to dismantle the booth. Author: Vadimov A.A.
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