General knowledge of magic

First, the history of magic

The correct time of the origin of magic is not available, it is presumed that from the beginning of human activity there has been magic.

The origin of magic is religion and faith.

In

ancient times, people believed that all things in nature were manipulated by spirits or gods, so sorcerers or priests took advantage of human superstition

to make use of the principles that people didn't know to create miraculous performances, making people believe that they were performed by spirits or gods, and to strengthen the rituals of the religion

through magic.

The earliest record of magic in history was in Egypt, around 2600 BC, more than four thousand years ago.

Discovered in 1823 in the

Wisca Manuscript, the document describes a magician named Dedi who was called upon to perform for the Pharaoh.

He was able to cut off the head of a goose, and the goose could still walk with its head severed

and then finally put the head back on to restore it to its original form.

The record describes the magician doing the same trick with quail rooks and bulls

.

But when Pharaoh asked him to perform the same trick on the prisoner, he refused.

The ancient Greek pantheon also utilized the principles of magic.

For example, when the priests opened the doors of the temple, bellows were blown to the ground and

flames appeared on the altar.

There were also talking idols made by applying wind pipes.

The earliest recorded trick is the CupsAndBalls trick, which is the oldest known trick.

It is also recorded in an Egyptian

mural (TombofBaqtIIIatBeniHassanB.C2500).

And the record of its actual historical performance dates back to

the first century CE.

This trick was very popular in the Middle Ages and was widely performed by magicians in fairs.

The magicians of the time were called Joggers, and these traveling performers, along with musicians, poets, and stuntmen, went out to the open spaces of villages and entertained

the villagers with simple tricks.

By the end of the Middle Ages, the misery of the magician had begun.

European magicians began to face strong opposition from the church.

Because people

believed in witchcraft and the paranormal, in these superstitious times, any magic that was not recognized by the church was considered black magic.

All it took was one person to testify, and the magician was put on trial.

Hairpin magicians were accused of being in league with the devil.

Despite the persecution, magicians remained a dangerous and popular profession.

Some magicians were favored

and protected by large landowners and nobles.

The magicians who traveled around during this time had only a limited number of tricks to perform.

Playing cards were not yet common, and tricks requiring large props were expensive.

So magicians relied on dexterity and storytelling.

Tricks using birds and animals have become quite popular.

Nearly three hundred years ago, religious persecution of magic tricks deepened, and during the reign of King Henry VIII, the punishment for performing them was death.

By the end of the 16th century, the persecution of witches reached the point of mass murder.

By the end of the 16th century, the persecution of witches reached the point of mass murder.

By the end of the 16th century, by the end of the 16th century, the persecution of witches reached the point of mass murder.

This led to the first English-language book on magic, the 1584 [Witchcraft Quest?

(TheDiscoveryOfWichcraft) The author of the book, Reginald Scott, aimed to save the lives of magicians, and in order to differentiate

between the magician's skill and the witch's evil power, he revealed a number of magical secrets in the book, in order to prove that these miraculous miracles

are in fact achieved by natural tricks, rather than by the power of the witch's power, and that the magician's skill is not the result of the witch's evil power.

And his work did save the magician of the Hairpin from being burned at the stake

.

Throughout history, magicians have performed to packed houses wherever crowds gathered.

In the eighteenth century, the place where people most often gathered

was the annual marketplace.

All kinds of circuses and stunts came here.

But the only star in the competition is the magician.

The greatest magician of the 18th

century was Isaac Fox.

He became so famous in the 1720s that he could be seen

trailing in the main markets of every town.

Esseker's classic trick was the EggBag, in which he kept pulling out eggs and small items from an empty bag.

It costs a shilling to see Faulks

perform.

He was a master of the art, and as such was a high earner, and even had die-hard supporters.

When he died in 1731, newspapers reported that he had left a bequest of 10,000 pounds, equivalent to a million dollars today, which shows how popular he was.

In the nineteenth century, with the rise of the theater, magicians found a new stage.

The first magician to bring magic to the theater, and to make a name for himself in the theater

was the Scottish magician known as "The Great Wizard of the North" (The Great Wizard of North), John Henry Anderson

森(约翰HenryAnderson1814-1874)。

His innovative performance style has influenced many magicians in later generations.

The magician's combination of sleight of hand and

lighting and stage effects ushered in a new era of magic.

The magicians of all time were at the top of their game, and many tricks were created in response to the theater

.

The end of the 19th century was the golden age of the magic show, and magic shows were held in packed houses everywhere.

Magicians wore formal tuxedo

suits, just like the theater-goers of the time, and this is where the tuxedo originated.

Some magicians even became household names

.

The most famous magician of the early twentieth century was the escape artist Harry Houdini (Harry Houdini1874-1926), a legendary magician who

Houdini, a household name in the United States, specialized in putting on escape shows, handcuffs, straitjackets, milk jugs, Chinese water jails, and the most

famously, underwater escapes.

Houdini was also a pioneer in exposing so-called psychics who used magic as a way to deceive the public.

To this day

he is still remembered.

But the takeoff of the movie industry in the 1930s caused a rapid decline in the market for magic shows.

Because in the movies, any kind of magic could

happen.

Only a true master magician could mesmerize an audience.

Now the demand for magic is rising again.

The neon lights of Las Vegas have replaced the campfires of old.

The development of casinos like Las Vegas and the glamor of television have created a new generation of magic stars.

These masters of magic are expensive and have a worldwide following

that was unimaginable for magicians of the past.

Today, magic still fulfills the need to amaze and entertain

people.

Magic teaches us that life is full of surprises and dreams; it also teaches us that everything may not be what it seems

.

And I believe that the history of magic will continue to evolve with the history of mankind into a more distant future.

Second, the performance of magic

Before the magic show -

(a) Select their own magic program (to pick skilled, do not often change the magic program).

(b) If you have assistants, rehearse often to achieve the best coordination and understanding.

(3) Check the props frequently, such as the machine spring and other devices, need to be lubricated frequently to maintain normal operation.

(4) Arrive at the performance venue in advance, organize the props backstage, rest a little, and get ready to go out.

(5) Take a deep breath before the show, full of confidence, and step onto the stage with a smile.

During the performance -

(a) Keep smiling, friendly, do not look unimaginable.

(b) the eyes should have a goal, not aimlessly look around, it is best to 'grab' a front row audience as a target, but also in the appropriate

time to turn the target to another audience.

(3) In case of accidental failure, do not be overwhelmed, because the audience may not realize, you can be careless as a dramatic

transition, and then use another set of magic to make up for it.

(d) Pause at the right time to give the audience 'time' to applaud.

(e) At the end of the show, bow politely, face the audience, slowly back, backstage, do not turn around and turn away.

After the show--

(a) Put all the magic props to collect and carry good, clean up their own items, do not leave their own waste in the background.

(b) review the advantages and disadvantages of this performance, (if possible, you can watch the video of their own performances) so that the next time you can do better

4-1 program (Routine)

The program, in simple terms, is to a variety of skills and props, words, acting, construct a magic show.

A single magic show

can't be called a program, but at least a small ***, can be considered a basic magic program.

And many programs constructed together,

becomes a set of performances (Program)

The program must be smooth, and must be laid out.

Take Cups and Balls (CupsandBalls) program, three small balls in the three cups

between the movement, although magical, but only to create the final ***, this is the layout of the magic program.

Common sense would say that each movement

is actually a very magical thing, but we had to deliberately not make it seem so amazing to the audience, but rather to make it a fun

experience, where the mood ebbs and flows a little bit with the flow of the balls.

We had to get the audience used to the small scale of the performance, and wait until the finale to

surprise them greatly....

A movie will have a beginning, a resistance, and an ending, and the programming is similar to that.

So what to do with the beginning and the end? There's a simple

point: at the beginning, let people know you; at the end, let people remember you.

Not only do you need to get people to recognize you at the beginning, you need to

get them to love your performance right away.

And the middle of the process, pay attention to the dramatic, not to say that we must perform a play, but must be like

play, there are high and low ups and downs, a person keeps changing a bunch of umbrellas is meaningless, the focus is on Shmu when to change what comes out of the change out of the time

machine correctly, change the umbrellas three will change the feeling of the eight umbrellas will change the eight umbrellas will change the feeling of 20

A show that is not designed is just a mess!

Here are a few pointers about the manufacturing process:

One, make the performance as clear as possible to all.

Two, the program is moderately long.

iii. The performance should be graphically varied.

iv. Find ways to make ***.

v. Begin with pure performance skills.

4-2 Timing and Acting

Timing:

For example, if you do a coin disappearance, and if you open your left hand right away, and the coin disappears, the audience

may not react, because they don't know what's going on.

But if you are still holding the left hand, and then speak some words, the left hand slowly rubbing a rub, then Jun slowly open, the audience on the explosion, because

for the audience is very clear in the disappearance of the moment before the coin is still in the hands of your grip (so that: fast, is the Achilles' heel of men).

Timing is important in everything

And it's the same in magic, where all the moves have to be just right.

Acting:

If you open your left hand directly, there is no magic flavor; but if you blow on your left hand and

rub your hand and slowly open it, the audience will be blown away; because blowing on your breath and rubbing your hand together makes it seem like

you have injected some magic into your hand. something magical into your hands.

Don't skimp on spells and gestures that seem like magic; they're the key to creating a magical

atmosphere.

4.3 Misdirection - Misdicection

The most mysterious and difficult techniques in magic, and the professions that specialize in them are pickpockets, gamblers, and con artists.

Misdirection is the act of directing the audience's attention to what the magician wants them to pay attention to, while ignoring other subtle parts

In short, it's like manipulating a hypnotized audience.

There is a saying that the eye is faster than the hand, but the human eye is in fact very precise, even if it's 1/24th of a second, that action

will leave an impression on the eye, and even if the hand is faster, it can't beat the eye's power of observation.

The audience said: [Wow! I saw how fast his hands were just now

and "I have no idea what he did! There's a difference between that and "I have no idea how he did that? There's a difference.

So how to make the best use of misdirection is an important topic for magicians to learn.

Rapid movements do not only hide from the eyes of the audience, but also cause the audience's psychological suspicion, which is exactly

what you need to avoid when performing magic, so (speed) is not a necessary condition for performing magic.

(Fast, is a man's Achilles' heel) (There

some masters, performing magic slowly, but even professional magicians are deceived)

Some people jokingly call this road for the blindfold, in fact, the blindfold is only visual, and misdirection is to do a person's body, mind, spirit,

completely controlled by the magician's point of view, he is not only the eyes to see, he also believes in his heart. eyes see, he also believes in his heart.

Theoretically, human attention can't be focused on two things at the same time

so when the attention is directed to another thing, the audience will miss the real KeyPoint part.

Misdirection should be done naturally.

For example, today you're in the middle of a show and you're yelling at the audience: [Look! There's a flying saucerii? If you let people

notice that you are guiding them, then it is not misdirection.

Misdirection isn't just leading the audience, it's leading them without them realizing it.

Everything you do, say, and look at is natural, and there's nothing unnatural about it.

The range of misdirection is very wide.

Today I'm going to talk about the action of 'pulling on the sleeve' alone.

The pulling of the sleeve could

have several meanings, of course I could be really just pulling the sleeve, or I could be emphasizing to the audience that there is nothing in the sleeve, or I could be proving that 'there is nothing in the hand that is pulling the sleeve!

Why would pulling the sleeve prove that 'there is nothing in the hand that pulls the sleeve?' Because I 'misled' everyone! Hiding something in the palm of your hand is

an 'unnatural' move, and I didn't want the audience to find out, so I made a 'natural' move, and because I made a

natural move, the audience wouldn't find out. That move was 'pulling the sleeve'.

During the performance, if my hands are unnatural, the audience might notice, but if I pull my sleeve, the audience won't remember!

As long as I don't emphasize the movement.

So let's say I misled people! I took the suspicion that I was 'hiding something unnatural in my hands' and turned it

into a 'pulling the sleeve that won't be remembered' gesture.

So I've turned a magic process into something that is like air, that doesn't leave an impression on the audience, who only remembers that I did something at the end!

But basically, there's one thing about misdirection: it doesn't happen by accident

it's part of the program.

Routine, Timing, Acting, are all part of the misdirection.

Every move

action, look, speech, is a part of the misdirection program.

Will the audience be amazed by a complete repeat of a silly program taught on a videotape or in a class? There is absolutely

no such thing! The best programs are spoiled if the audience is not directed to the performance.

When you're on stage, you're the master, remember that

.

(By the way, magic tricks are meant to be done unnoticed, not to be shown to people, don't show a separate Pass to people

Look:Look, how fast my hands are! ...)

Three, nineteen kinds of magic basic effects

(1) change to (production)

appear, become more (people or things)

(2) anti-natural physical (physicalanomaly)

Including people away from the shadow, the headless beauty, the head of the spider, Take away the thumb, etc.

(3) Vanish (vanish)

To disappear so as to be invisible.

(4) Fail the spectator (spectatorfailure)

The magician uses some power to make the spectator unable to do something.

(5) Transportation

Disappearing from one place and appearing elsewhere.

(6) control

A magician can use his inner power (without using his hands) to control the movements of living or dead things, such as ringing a bell, automatically reaching out, etc.

(7) control

A magician can use his inner power (without using his hands) to control the movements of living or dead things.

(7) Transformation

Change of size, shape, nature, color, mark, etc.

(8) identification (identification)

Such as recognizing the spectator's card table (mostly used for cards, but also used for colors, the magician or the spectator can recognize).

(9) Peration

The passage of a hard object through a hard object.

(10) thoughtreading

The magician knows what the spectator is thinking, and the spectator can write down what he is thinking for comparison.

(11) Restoration (restoration)

The restoration of part or all of an object that is broken.

(12) thoughtreading

Enabling a person to know what a person is thinking.

(13) animation

To make dead things move as if they were alive.

(14) prediction

To write down the occurrence of something, such as headlines.

(15) anti-gravity (anti-gravity)

The action of a person or thing against gravity.

(16) sixth sense (extra-sensoryperception)

Such as using the fingertips to see things, using the nose to smell the color, using the fingers to feel the card points.

(17) make change the same, **** song (sympatheticreaetion)

Two people or two or more things to make the same result.

(18) stunts (skill)

With the help of real technology or props, to make special effects.

(19) invulnerability (invulnerability)

Including eating fire, line thatched charcoal, line on the sword, eating glass, eating razor blades, pins and nails to cut the tongue and so on.

Fourth, the magic terms in English and Chinese

Magic terms in English and Chinese comparison 20031114 revised version of the Gao Jin, the white heron revised

ParlorMagic

Parlor occasion size is between the close-up and the stage, right (Parlor in the English equivalent of the DiningRoom or FamilyRoom)

Parlor in the English equivalent of the DiningRoom or FamilyRoom

Parlor in the English equivalent of the DiningRoom or FamilyRoom. FamilyRoom)

Usually, the tricks performed by ParlorMagic tend to be close-up magic, but there is one feature that makes ParlorMagic's tricks standing up.

Cards

Card

cardcase

poker

spade

heart

diamond

club

cardcase

deck

pile stack

top top

bottom bottom

faceup face up

facedown face down

fan fan

sprea difficult

cut cut

onehandcut onehand cut

falsecut false cut

shuffle shuffle

HinduShuffle Indian shuffle

riffleshuffl.

dove-tail shuffle

False/BlindShuffle false shuffle

doubleliftsDouble Flip

secretaddition

secretload

forceForcing

riffle dial

riffleforce dialForcing

UndertheSpreadForce showdown Force

c1assicforce classicalforce

crossforce crossforce

falsecount falsecount

Elmsleycount Iwasleycount would be more appropriate, commonly known as Elmsley

Jordoncount Jordoncount

HammanCount Hamman

reverse

topchange

topchange

pass transfer

c1assicpass classicalpass

Hammanpass Hamman

easypass simplepass

centerpass Center Shift

halfpass Flop

The trick of stealing the flop is special, because the original English name of HalfPass doesn't quite convey the meaning correctly,

but it shouldn't be called a flop in Chinese either, because it's also a hidden action...

Turnover would be more appropriately called a flop, since it is not a hidden action

falsedeal fake deal

seconddeal deal second

bottomdeal deal bottom card

centerdeal deal center card

palm hide card in palm

toppalm hides the top card

bottompalm hides the bottom card

GamblersCop gamblers withhold cards

sidesteal side steals cards

Tenkaipalm Tenkai hides the cards

backpalm hides the cards in the back of the hand

SpreadControl showdown control

convincingcontrolpass(ConvincingControl, Convincing means convincing, not confirming)

SpreadControl showdown control

injog shift

breakBreak

peekPeek

Peek, formally known as SpectatorsPeek, refers specifically to the action of the spectator calling a halt and then looking at that card when the magician is ruffling it.

The ruffling action done by the magician here is different from the usual one.

The real magician's peek should be called Glimpse, but it was later developed

into some magician's peeks that are also called Peek.

crimp peek

switch peek

glide glide

colorchange change

Toshowacard/Displayacard

Displayacard

twistingcard turn

Twisting means spinning, and in magic it refers to the magical effect of a card going from face-up/back-down to face-down/back-up, while spinning a card between the fingers is called pirouette. Pirouette

twirl, spin is a more appropriate description of the action of spinning a card in magic

folding folding

tearing tearing

SelectionorSelectedCard spectator-selected card

doublebacker doublebackerdoublebacker card

Coins:

coincopper

halfdollartwo dollars and fifty cents

englishpennyone pound and one penny

palmuphands up

palmdownhands down

coinroll to copper

shattlepass

HanPingChienMoveHanPingChienMoveWe should never get this trick wrong as well, because it's a great Chinese invention

Note: It's really great, and it's quite important in coin magic!

clickpass

palm palm

classicpalm classical concealment

thumbpalm thumbtip concealment

fingerpalm fingerpalm concealment

Darwinpalm Darwin coin collection

fingertip fingertip coin

Tenkaipalm Tenkai concealment

sleeving into sleeves

1apping down to the knee

shell shell

General terms:

audience audience

spectator audience<

performer performer

entertainer performer

volunteer volunteer

magician magician

c1own clown

misdirection misdirection

routine routine<

timing

acting

clic timing

flourish fancy

illusion illusion

trick trick

setting pre-show preparation

method method

sleight technique

steal steal

props:

prop props

magicwand magic wand

ball ball

dove dove

Zombie necro

silk scarf

rubberband rubber band

cigarette cigarette

topit concealed pouch

wax wax

carpet table runner

thumbtip thumbtip

finger:

thumb thumbtip<

indexfinger index finger

middlefinger middlefinger

ringfinger ring finger

pinky pinky

nail nail

effect term:

effect effect

production

physicalanomaly anti-natural

vanish disappear

spectatorfailure failing the audience

transportation displacement

control control of physical forces

transformationtransformation

identificationidentification

perationtraversal

thoughtreadingmindreading

restorationrestoration

animationautomation

predictionprophecy

anti-gravityanti-gravity

extra-sensoryperceptionsixth sense

sympatheticreactionmake***sound

skillstunts

invulnerability can't hurt spells