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EFFECTIVE FOCUSES AND THEIR CLUES Session with Chinese rings (several tricks). Focus Secret
Directory / Spectacular tricks and their clues Session description: The artist shows several nickel-plated steel rings 12-16 cm or more in diameter to the public. Spectators carefully examine the rings, try them to break. The rings appear to be intact, without any joints or cuts. Despite this, the artist begins to connect them with each other, not only on stage, but also while being among the audience. A chain is being made. The rings are connected and disconnected from each other by touching them with a stick or at the request of one of the spectators. In the end, the artist connects all the rings with each other and makes a number of different figures out of them. Props: Ten large steel nickel or chrome rings. Four of them are single whole rings, two connected together and three also connected together. One ring with a slot that allows it to be connected to other rings. This ring is called key (Fig. 113).
Before the session, place the rings on the table on top of each other in a pyramid, observing the following order: from below, three rings connected together, then a ring with a slot, or a key ring (the slot of the ring should face the part of the table farthest from the audience). The key ring is taken by covering the slot with the forefinger and thumb. It is necessary to learn how to take it in this way immediately, without looking for a cut with your eyes, which, with a certain training, your fingers will feel well. On top of the key ring, two connected together are placed, and on them are the remaining four whole rings. Session demo: The performer takes all the rings from the table with his left hand, without upsetting the order in which they are laid, and addresses the audience with approximately the following phrase: "These rings have an interesting property. Would you be interested in taking a closer look at them?" With these words, the magician gives one of the free rings to one of the spectators, then another, third and fourth. These whole rings lay on top of the prepared pyramid, and it is quite natural that the performer distributes them in turn, removing them from above with his right hand. The public does not have any suspicions. Nevertheless, it must be emphasized that the rings should be handed out naturally, naturally, without looking at them. In general, it is very important to be able to determine by touch which rings you have in your hands - single, double or triple. Practice this thoroughly. Having distributed the rings, the performer asks one of the spectators, who is looking at the ring, to help him a little in performing this trick and gives the spectator another ring, taken from another spectator, who has already made sure that there is no secret in the ring. The first spectator now has two whole rings in his hands, and the other two whole rings at this time, probably, will still be examined by the spectators and passed from hand to hand. The remaining rings from the performer must be put back on the table. Then the conjurer takes from the pyramid the next two rings in order, those that are connected together, and swings them in his hand, without showing the audience that they are connected together. Swinging the rings, the performer asks the spectator-assistant to repeat after him all the movements with the two rings that he holds in his hand. "Now try to make such a movement and make one ring connect with another," says the magician. He lets one of the double rings slide off his wrist. The ring, of course, will hang on the other, and the audience will get the impression that the magician has connected both rings. An assistant from the audience, exactly imitating the movements of the artist, of course, will drop his ring on the floor and cause laughter from the audience. At best, he will unsuccessfully try to pass one ring through another. The performer approaches it, taking a key ring from the table (next in order in the pyramid) and closes its incision with the index and thumb. "Is it so difficult? Can't you handle it? What ring is bothering you?" the artist asks. "Give me your rings, and you take mine." With these words, the performer gives the assistant two rings connected together. "Disconnect them, it will be much easier for you." The performer takes both rings from his assistant and connects one of them to the key ring. This should be done easily and naturally (Fig. 114).
The artist, as before, folds the rings one with the other, then swings them and allows the whole ring to slide off the hand and hang on the key ring (Fig. 115).
Then he takes the second whole ring, taken from the viewer, swings it and, passing through the cut of the key ring, again lets it fall down (Fig. 116).
Continuing the focus, the artist approaches a woman or addresses one of the children in the auditorium: "These rings are separated by the touch of a" magic "wand or a light breath. Try it, blow on this ring." The performer brings the ring closer to the person who wants to blow, simultaneously pressing one of the lower rings with the thumb and forefinger of the left hand close to the fingers closing the slot in the key ring, and quickly removes the ring from the key ring. The effect has been achieved. The artist passes the freed ring to his new assistant and, leaving the other two, turns to the next viewer: "Please, now blow on these rings and separate them." At this time, the performer approaches the table, holding the key ring in his hand, puts it on top of the rings lying on the table, and, grabbing three rings connected together with him, takes them so that the audience does not notice that they are connected to each other. Holding in his hand, the artist swings the rings once, twice and, as before, lets them slide down from the hand, first to the first, then to the second and, finally, to the third, creating the impression that separate disparate rings are connected into one chain of three rings ( Fig. 117).
The performer hangs this chain on his left hand near the elbow, approaches the viewer, who has two rings connected together, and takes them from him. Holding the key ring with his right hand, the artist connects it with two rings taken from the viewer, not forgetting to swing, which must always be repeated when connecting the rings. Now the magician has two chains, three rings in each. One chain hangs on his left hand, and he holds the other in his right, with the key ring at the top of this chain. The artist lowers the chain, located at the elbow of the left hand, onto the fingers of the left hand so that the chains take the position indicated in Fig. 118.
Bring the hands together, swinging both chains, and connect the top ring of the chain in the left hand with the key ring, the top in the chain of the right hand. At the same time, quickly catch in your left hand the lower ring of the chain in your left hand, and, lifting it up, as indicated in fig. 119, show the audience by holding the cut of the key ring with the fingers of your right hand.
Then again take the upper ring of the left chain in your left hand, and, swinging both chains, separate them, putting the left chain on your left hand. Continuing to swing the rings, remove the key ring from the chain in your right hand and place the rings of this chain on the table, leaving only the key in your hand. Connect it to the top ring of the chain in your left hand and you will have a chain with four rings. “From these rings I will now make several different figures,” the artist says, addressing the audience. “The first figure is the stirrup of a cavalryman.” Turn the upper ring of the chain sharply to the left, as a result of which the lower rings will take the position shown in fig. 120. Then take the lower ring of the chain in your left hand and connect it with the key ring, while sharply shaking all the rings forward so that they fall down, while taking the form of a stirrup.
To go to the next figure from the rings, it is necessary to lift up the lower ring (the one connected to the key one) and disconnect it, giving the chain the position indicated in fig. 117. Now announce to the audience: "The next figure is a garden bench." Lift the bottom ring of the chain up again and connect it to the key, keeping the key vertical and the bottom ring at right angles to it. If at the same time the left hand, having captured the middle and lower rings, pulls them forward, then some, however, remote similarity of a bench will be obtained (Fig. 121).
“Now I will make a “satellite ball”. While the performer pronounces these words, he lowers his left hand, continuing to hold the rings with his right hand on the key ring with his thumb and forefinger, covering the cut with them. Then, slightly bending the rings at the moment when the lowest ring spreads forward, you need to grab the lower part of it with your left hand and pass it to your right, thus forming the figure shown in Fig. 122. In order for it to be perceived by the audience as a ball, you must quickly turn your hand to the right, then to the left. and in subsequent figures, the grip of the right hand must be quite strong, otherwise the rings will fall apart and the display of the figure will not succeed.
Before showing the next figure, you can say to the audience this: "Without a doubt, everyone loves flowers. See how you can make a flower out of these rings. For example, pansies." Holding the "satellite ball" with your right hand, you need to push those two rings in opposite directions , which cross at the top of the "satellite", helping themselves with the fingers of their left hand. When you separate them by five centimeters, remove your left hand and use one right. Now loosen the clamping force of the rings and gradually slowly let the rings themselves turn into the position shown in fig. 123. It turns out a flower. While the rings are slowly unfolding, yielding to the movement of the right hand squeezing them, the performer continues: "You see, the bud has blossomed. Before you is a flower."
When the "flower" shape is done, don't forget to squeeze the brush again and don't lose control of the rings, otherwise the whole shape will fall apart. If this happens, then it will not be possible to go to the next figure - "Frame for four photos". Shake the forearm of the hand holding the rings sharply back (only in practice will you learn what the strength of this movement should be), and the rings themselves will assume the position shown in fig. 124.
Then the magician tells the audience: "The last figure I will make will be the ace of clubs." With these words, make a sharp push on the upper ring of the "photographic frame", lowering it to the position shown in fig. 125. Due to the fact that this figure is made faster than anyone else and more faithful to the depicted object, it serves as a good final effect of the whole session with Chinese rings.
Having shown the last figure to the audience, quickly unhook the chain rings from the key; swinging the key ring in your right hand, quietly put all the rings on it - both triple, double and single. Collecting the rings, the performer juggles and tinkles them all the time, using both hands. When this operation is completed, the conjurer, with a sharp movement, causes the rings to slide down and turn around in the key ring. Spectators see that all the rings are connected together (Fig. 126).
The success of this trick will largely depend on how easily and beautifully the artist will be able to make figures from the rings. Therefore, they must be learned to compose them so quickly that they can show it to the viewer by the end of the phrase about a given figure. It should not be forgotten that pauses that are tedious for the viewer, unexpected sharp jumps disrupt the smoothness in the construction of figures and the rhythm of the focus. The smoothness of the display of figures is achieved only by the fact that the construction of each subsequent figure follows from the previous one. This is important to remember when demonstrating focus. You can not change the order of the figures, making, for example, "ace" before the "flower", or introduce new figures, for the construction of which it is necessary to return to the original position of the rings or to the previous figure. Author: Vadimov A.A.
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