MAGICSCHOOL PROGRAM OF STUDY
BY DR. OM
Here it is! The world’s first step-by-step course on “How To Become A Magician!” We are honored a proud to have the world’s finest magic teacher, Dr. Oscar Mucariello teach “you” the I.C.O.M member the CORRECT way to perform magic. Over time, lessons will be added to this forum until it becomes the DEFINITIVE course on legerdemain. So strap yourself in, get a big bowl of popcorn, a deck of cards, some coins and a generous supply of pom, poms, (you’ll see) and open up your mind to the most prolific man in magic…Dr. Om!
Hereby is initiated the new
CONSERVATORY OF MAGIC (I.C.O.M) MAGICSCHOOL PROGRAM OF
on four successive levels:
1) RUDIMENTARY MAGIC; NOVICE LEVEL; INSTRUCTOR(S): Dr. OM
2) INTERMEDIATE MAGIC; APPRENTICE LEVEL; INSTRUCTOR(S):
3) ADVANCED MAGIC; JOURNEYMAN LEVEL; INSTRUCTOR(S):
4) MASTER CLASS; WIZARD LEVEL; INSTRUCTOR(S)
The student may begin studies at any appropriate level, and yet review earlier levels of study, as needed, or desired.
I.C.O.M MAGICSCHOOL CURRICULUM SYLLABUS ON EACH LEVEL.
STUDENT BEHAVIORAL OBJECTIVES
1) TO VANISH A PHYSICAL OBJECT;
2) TO REPRODUCE A PHYSICAL OBJECT;
3) TO PRODUCE A NOT PREVIOUSLY VANISHED PHYSICAL OBJECT;
4) TO TRANSPORT (TO CHANGE THE LOCATION OF) ONE PHYSICAL OBJECT (Actually: a vanishment and reproduction);
5) TO TRANSPOSE (CHANGE THE PLACES OF) TWO OR MORE PHYSICAL OBJECTS (Actually: two vanishments and two reproductions);
6) TO CHANGE THE FORM OF A PHYSICAL OBJECT (Actually a vanishment and a production);
7) TO CHANGE THE SIZE OF A PHYSICAL OBJECT-DIMINISHMENT (smaller) or AUGMENTATION (larger)-(Actually: a vanishment and a production);
8) TO CHANGE THE COLOR OF A PHYSICAL OBJECT (Actually a vanishment and a production);
9) TO CHANGE THE WEIGHT OF A PHYSICAL OBJECT Actually a vanishment and a production);
10) TO CHANGE THE TEMPERATURE OF A PHYSICAL OBJECT-Hot to cold or cold to hot-(Actually a vanishment and a production);
11) TO PENETRATE A SOLID PHYSICAL OBJECT WITH ANOTHER PHYSICAL OBJECT;
12) TO LEVITATE A PHYSICAL OBJECT;
13) TO ANIMATE (seem to bring to “life;” to cause to move) A PREVIOUSLY INANIMATE (lifeless; motionless) PHYSICAL OBJECT;
14) TO RESTORE TO WHOLENESS A PHYSICAL OBJECT WHICH HAS PREVIOUSLY BEEN CUT, SEVERED, MUTILATED, DECOMPOSED, OR DESTROYED; and
15) TO ACCELERATE A NATURAL PROCESS SUCH AS INDUCING THE GROWTH OF A SEED RAPIDLY INTO A FLOWER.
MENTAL MAGIC (MENTALISM; MIND CONTROL);
16) TO PRECOGNATE (FORETELL; PREDICT; AGUR; SOOTHSAY; PROGNOSTICATE; PROPHESY; FOREBODE) AS AN ACT OF SEEMING CLAIRVOYANCE;
17) TO COMMUNICATE TELEPATHICALLY THROUGH EXTRA SENSORY PERCEPTION (ESP);
18) TO TRANSFER A THOUGHT TO THE MIND OF ANOTHER;
19) TO IMPOSE A THOUGHT UPON THE MIND OF ANOTHER;
20) TO HYPNOTIZE ANOTHER MIND;
21) TO SELF HYPNOTIZE; and
22) TO MENTALLY INFLUENCE, MOVE, MUTILATE, OR AFFECT IN ANY WAY, EITHER ANIMATE OR INANIMATE OBJECTS (TELEKINESIS).
23) TO ACCOMPLISH EACH OBJECTIVE BY FIAT OF (means of; way of) ONE OR MORE OF THE CONJURER’S TECHNIQUES, AS FOLLOW:
A) SLEIGHT OF HAND;
B) MAGICIAN’S MISDIRECTION;
C) ACTOR’S MISDIRECTION;
D) VERBAL LIFE MISDIRECTION (Patter);
E) PHYSICAL LIFE MISDIRECTION (Body Language);
F) GIMMICK (A mechanical or electronic aid to the manipulation of a prop);
G) GAFF (An alteration of the original state of a prop, for instance: changing one of the pips (suit indicators) on a card, e.g: diamond to heart);
H) UTILITY PROP: (Hidden mechanical, electronic, or chemical device);
I) PREARRANGEMENT ( e.g: a stacked deck);
J) SALTING (Hiding objects about the venue before a performance);
K) SECRET ASSISTANTS PLANTED IN THE AUDIENCE (Stooges);
L) MATHEMATICAL INFLUENCE OR DETERMINATION; or
M) BY ANY OTHER KNOWN OR UNKNOWN SUBTERFUGE UNDER THE MOON. LESSON MODEL FOR UNIFORMALLY FAMILIAR FORMAT OF STUDY
I. OBJECTIVE STATEMENT
II. REQUISITE PROP (Properties) MATERIALS
III. TECHNIQUE DESCRIPTION (Sleights, moves, gaffs, gimmicks, etc.)
IV. CHARACTER ESTABLISHMENT (PERSONA)
VI. BELIEF IMPROVISATION:
VII. PRACTICE TIPS
VIII. REVIEW AND ELABORATION
IX. EFFECT APPLICATIONS (For carry-over of learnings to other magical effects)
X. CRACKERBARREL THOUGHTS
LESSON NUMBER ONE
I. OBJECTIVE: TO VANISH AND TO REPRODUCE (Reappear) A POM POM
II. PROP MATERIALS: POM POMS ARE EASILY OBTAINED FROM HOBBY AND CRAFT STORES, IN A VARIETY OF SIZES TO SUIT EACH STUDENT’S HAND SIZE. PINK POM POMS ARE PERHAPS THE CLOSEST TO HAND PALM SKIN COLOR FOR AVOIDANCE OF DETECTION.
III. TECHNIQUE DESCRIPTION:
PRACTICE PLACING A POM POM INTO YOUR LEFT HAND, AFTER PICKING IT UP FROM THE TABLE WITH THE RIGHT HAND. NOTICE THE WAY YOU NATURALLY PLACE THE POM POM INTO YOUR LEFT HAND AND YOUR PERSONALLY NATURAL WAY OF CLOSING YOUR LEFT HAND AROUND THE POM POM. REPEAT AND OBSERVE, OVER AND OVER AGAIN, UNTIL YOU RAISE THE ACTION TO THE LEVEL OF YOUR OWN CONSCIOUSNESS
IV. CHARACTER ESTABLISHMENT (Your character must captivate and hold your audience from the first moment “on stage”):
BELIEVE YOU ARE AN AVARICIOUS PERSON, A MISER.
BELIEVE YOU ARE PLACING AN OBJECT OF GREAT MONETARY VALUE INTO YOUR LEFT HAND.
VI. BELIEF IMPROVISATION:
BELIEVE THAT YOU ARE A MISER PLACING AN OBJECT OF GREAT MONETARY VALUE INTO YOUR LEFT HAND AND LEAVING IT IN YOUR LEFT HAND, WHICH IS ACTUALLY EXACTLY WHAT YOU ARE DOING.
VII. PRACTICE TIPS
DO NOT ATTEMPT TO RETAIN THE POM POM (Object of great monetary value) WITH THE RIGHT HAND, UNTIL PLACING THE POM POM NATURALLY BECOMES SECOND NATURE. DO NOT “ACT OUT” THE ACTION, THE CHARACTER, AND THE MOTIVATION,
RETAIN THE POM POM IN YOUR RIGHT HAND WHILE SEEMING TO PLACE THE POM POM INTO YOUR LEFT HAND, IN THE SAME WAY AS WHEN ACTUALLY DOING SO. BELIEVE THAT YOU ARE ACTUALLY LEAVING THE POM POM IN THE LEFT HAND. REMEMBER WHAT IT LOOKED LIKE TO DO SO (Sense memory, in this case sight memory); REMEMBER WHAT IT FELT LIKE TO DO SO (Body memory) SEE AND FEEL THE SAME WAY.
Practice placing a small pom pom into the left hand with the right hand, by actually doing so and memorizing how your own action appears to you. Do so, over and over again, before REST PALMING it in the right hand and closing the left hand fingers over the now empty left palm, but BELIEVE that the pom pom is in the left hand. The left hand fingers close, as the pom pom is seemingly deposited into the left hand. The left hand moves about five inches to the left, as if taking the pom pom away, as the right hand remains perfectly still and in place. If the right hand were to move and the left hand remain still, the illusion would be lost., because the right hand would be seen as taking the pom pom away, which in actuality it would be doing, but your intent is to have the spectator see the left hand taking the pom pom away.
1) In the case of vanishing a small object such as the pom pom, have the fingertips of the left hand close to rest upon the “Life Line,” at the base of the ham of the thumb.
THE SLYDINI MOVE
Having registered that the pom pom is in the left hand, rub the left hand fingers against the the left hand thumb and thumb ham, as if massaging the pom pom. Turn the left fist over upstage toward you and and for the first time moving the right hand, magically rub the back of the left fist with the right hand extended fingers with thumb upstage toward you. Rub magically, as if the action is vanishing the pom pom, and simultaneously incline your head to the left looking down at the back of your left hand with your face half-downstage toward the audience. All of the hand action is to be performed at about breast level.
Once the vanish is registered, turn the left hand over again and, with palm facing upward, lightly toss the now seemingly invisible pom pom into the air, letting the eyes follow it in its assent. The tossing left hand should not rise above the chin. Say one thousand to yourself (marking one second); reach up with the right hand pushing the pom pom to the right hand fingertips with the right hand thumb, as you pull the right hand back down again about three inches producing the pom pom at the tips of of the right hand fingers at the stopping point.
NOTE: Other small objects, other than pom poms may be so vanished and reproduced, such as: sponge balls, coins, dice, jacks, cotton balls, rolled up pieces of napkins, cherries, olives, or grapes (being careful not to squish), in other words: any small object.
IX. EFFECT APPLICATION: ONE, TWO, THREE, AND OUT (WITH OPTIONAL CLIMAX)
WHAT THE SPECTATOR SEES:
Three small pink pom poms are displayed in a row on the table top. The magician places two of the pom poms into his right hand and the third into his right side pocket. When the magician opens his left hand, it holds three of the pom poms which he pours back onto the table top. Advising the spectator to pay closer attention, the same actions are repeated a second time, but, again, the pom pom placed into the side pocket magically rejoins the two in the magician’s left hand. The magician then causes all three pom poms to be vanished from the left hand, to be replaced by a climactic giant pom pom.
Four small pink pom poms ( Notice that you are showing three, but are working with four; the fourth is concealed) and one pom pom about three times the size of the small. Note: pink provides the best camouflage against the skin color of the palm of the hand. If the student prefers, sponge balls may be used, instead.
Place the four small pom poms and the giant pom pom in the right side coat or pants pocket.
PERFORMANCE, PART I:
1) With the right hand, remove the four small pom poms from the right pocket. In the confines of the pocket, hidden from view, first place the fourth concealed pom pom in rest palm position,at the bases of the third finger and pinky, then grasp the three to be displayed with the first and second fingers and thumb. Remove the right hand from the pocket, first displaying them and then laying them in a row on the table top.
2) Point to each of the tabled three pom poms with the right first finger ( Thus avoiding suspicion that the right hand is concealing a fourth pom pom. if you wish, a wand may be used to point, providing even more misdirection, because a hand holding a visible object is psychologically not suspected of holding a non-visible object), Saying: “One, two, three. This is an arithmetic test.”
3) Pick up the first pom pom, at the right, with the right fingers, and display it and actually placing it on the left palm, saying: “One.”
4) Pick up the second pom pom with the right hand, actually placing it in the left hand, saying “two,” but as well drop the rest palmed concealed pom pom into the left hand, at the same time. Curling the left hand fingers upward will mask (conceal) the action and not reveal that the left hand actually holds three pom poms, as the fingers close over the three pom poms.
5) Casually reveal the right hand empty, as picking up the third pom pom from the table, saying: “and the third goes into my pocket.” Do not make a flourish of displaying the right hand empty.
6) Seemingly place the apparent “third” pom pom remaining on the table, into the right side pocket. While still in the pocket conceal the pom pom in rest palm position.
7) Remove the right hand concealing the pom pom from the pocket and tap the left clenched fist, saying: “Now, how many are in my hand?” The spectator will generally say “two.”
8) Pour the three pom poms onto the table saying: “You have to pay closer attention.” (OUT): If the spectator guesses, saying: “three,” say: You know, you’re pretty good at this. Let’s try it again.” (In performance, “outs” are most important. An “out” is A WAY OUT of an undesired response, when a spectators try to out trick you, as they often will, or when something goes wrong, in the execution of an effect, because of your own error).
9) Pick up one pom porn with the right hand, placing it in the left hand, saying: “one.”
10) Pick up the second pom pom, with the right hand, placing it into the left hand, saying: “two,” but drop the rest palmed concealed pom porn, into the left hand at the same time. Curling the left fingers upward will again mask the three pom poms, actually held in the left hand, as the fingers close over the three pom poms.
11) Casually reveal the right hand empty, as picking up the still tabled “third” pom pom, again, saying: “and the third goes into my pocket.” Do not make a flourish of displaying the right hand empty.
12) Actually place the “third” pom pom into the right side pocket, leaving it there and steal ( secretly pick up) the giant pom pom concealed, in the rest palm position.
13) Remove the right hand from the pocket, concealing the giant pom pom and tap the left clenched fist, saying: “Now, how many are in my hand?”
14) If the spectator says “two,” say: “I told you, you have to pay closer attention.” If the spectator guessingly says: “three,” say.” You know, you’re getting better at this,” as you pour the three pom poms onto the table.
FINALE, PART III:
15) Point to each of the tabled three pom poms, with the right first finger, still concealing the giant pom pom in rest palm position, saying: one,two, and three.”
16) Pick up one pom porn with the right hand, actually placing it in the left hand, saying: “one.”
17) Pick up the second pom porn with the right hand and seemingly place it in the left hand, but actually steal the first om pom from the left hand, with the right hand, and drop the giant pom pom into the left hand. quickly curling the left hand fingers upward and closing them in a fist will mask the giant porn pom.
18) With the right hand pick up the third pom pom from the table (with the first two pom poms concealed in finger palm position, at the bases of the second and third fingers of the right hand), saying: “and the third goes into my pocket,” actually depositing all three small pom poms into the side pocket.
19) Remove the empty right hand from the pocket, casually revealing it to be empty. Tap the back of the clenched left hand, saying: “Now, how many do I have in my hand?”
20) Irrespective of the spectator’s response, ask the spectator for his hand. When offered, say: “No, the clean one.” Receive the back of the spectator’s hand, in your right hand, both held palm upward. Place the giant pom pom into the spectator’hand with your left hand held palm downward. Close the spectator’s fingers over the giant pom pom with your right hand, asking: “Now, how many do you have in your hand?” Irrespective of the response, say. “Would you please open your hand.” When the spectator does so, revealing the giant pom pom, say: “How did you do that?” as if the spectator performed the magic.
If the giant pom pom is the same color (pink), as the small pink pom poms, a TRANSFERENCE and TRANSFORMATION (size) or METAMORPHOSIS has been effected; if a different color (red) giant pom pom is employed, a COLOR CHANGE has been effected, as well.
ONE, TWO, THREE, AND OUT was Houdini’s favorite impromptu table effect, which he performed with pieces of paper napkins, obtained from the table or napkin holder,as found objects and secretly rolled up into pom poms beneath the table top; his lap serving as a shelf or servante. Houdini did not provide a giant pom pom climax, but twirled the fingers of both hands outward, to finally reveal both hands empty. When performing for children, remember that they prefer productions to vanishes. Generally, every effect should present a climactic surprise. As an impromptu for adults, Houdini’s ending is appropriate and practical.
X. CRACKERBARREL THOUGHTS
On more than one occasion, Dr. OM has seen a skunk illuminated and transfigured by moonlight. The light flooding on the skunk, in the otherwise darkness, makes the white of its fur gleam brightly
and as purely as new fallen snow against the jet blackness of the dark side of its coat. Lesson: A magician, in white tie and black tails, in general lighting on stage, or in other irridescent costume, can be made to glisten in the eyes of his audience, in a way that casts a magical aura over his entire person.
A Raccoon, in moonlight, is translucently silver and seems transformed and glorified larger than life. Dr. OM has seen magicians and other actors who are rather nondescript, in ordinary daily life, so transformed and glorified by make-up, costuming, and lighting, that they appear on stage to be heroically larger than life.
There came to Dr. OM’s back yard, for a period of time, a thin and bedraggled raccoon who would look so forelornly and pleadingly at him with her nose quiveringly pointed downward and her eyes peering over her nose, so pitiably upward through her mask at him, that Dr. OM felt compelled to feed her table scraps each evening. Evening after evening, she returned to be his dinner guest, until one evening she appeared no more.
She had been growing fatter eating the table scraps, and Dr. OM was fearful that something had happened to her, else, why had she not returned, when she did so enjoy being invited to dinner. One evening, some time later in spring, she suddenly reappeared at dinnertime, but she made her reappearance with four newborn cubs, Dr. OM happily fed the five of them, for a time, until one evening, there appeared Mrs. Raccoon, her four cubs, and Mr. Raccoon. Dr. OM fed the six of them.
On it went, until on a later evening, there clamored to Dr. OM’S dinner table: Mrs. Raccoon, her four cubs, Mr. Raccoon, Mrs. Raccoon’s sister with her four cubs, and Mrs. Raccoon’s brother-in-law.
Lesson: Perhaps the fascination with the magical multiplication of objects such as pom poms, sponge balls, billiard balls, and coins derives from nature. MULTUM EX PARVO (MUCH OUT OF LITTLE) appears to be magically caused, even in nature. Perhaps, deep within what Jung termed THE PERSONAL AND COLLECTIVE UNCONSCIOUS resides the primordial memory that spirit magic (Nature Deity) causes much to come out of little, thereby, current illusion based on the form stimulates an ancient recall of that magical belief.
All of art depends upon unconscious mythic recollections and illusions which evoke the mythic past by stimulating the audiences into associations causing a vicarious emotional experience, an alternative reality. Music can cause the feelings of fear, peace, love, agitation, excitement, happiness, and sadness, in a listener in whom, only a moment before, the emotion was entirely absent. Foreshortening in painting can cause a viewer to see three dimensionality in a two dimensional object. The removed fourth wall of the proscenium arch stage, on which a so called realistic drama is being performed, can produce the illusion for an audience that reality is actually being witnessed.
Dr. OM has been complimented by other musicians, for his musical performances. A classical pianist once told him that it was a pleasure to hear his music so correctly played; another musician praised his harmonies; but the greatest compliments occur on those occasions when an emotionally moved, lovely lady whispers a thank you for his music, with a tear in her eye. Applause for Dr. OM’s magical effects is always pleasing, but the sound of the audience drawing its breath, at moments of shared illusion, is so much more pleasing.
PUZZLE ME THIS
Where is Dr. OM When he is dreaming of Dr. OM dreaming of Dr. OM?
I found a weed
that had a
mirror in it and that mirror
looked in at
a mirror in
me that hada weed in it.
Dr. OM’s magicschool lesson number III
As was lesson number one, lesson number two is again devoted to those forms of magic termed:
1)To Vanish a Physical Object; and 2)To Reproduce a Physical Object, but this time with playing cards, instead of pom poms or other small objects. In the case of burying a card in a deck and then finding it again, the envanishment is a mere matter of losing the card from sight; the reproduction is a mere matter of finding the card again–no mere matter without technical device, however.
The choice of a brand and size of cards is individually important. Adults with average or large sized hands should certainly use poker sized cards. Adults with small hands should use bridge sized cards, a The conventional wisdom is that all adults should practice with poker sized cards against the times they must perform with borrowed decks. In fact, professional magicians with small hands do use bridge sized cards, especially for the purpose of palming. Dr. OM, himself uses poker sized red Bicycle Rider back decks, but would have no compunction about using a bridge sized deck, if his hands were smaller. As in all: whatever works, works.
Pre-teens should use either bridge sized or miniature cards. Miniature cards are readily available at magic stores, hobby shops, and party supply shops. Card size advice is here intended for the ladies, as well as the gentlemen.
The student should experiment with the variety of card brands offered on the market. Some brands are stiffer than others; some brands are thicker than others; and some brands are more slippery than others. The choice of both card size and brand is entirely personal.
The card lost in the deck and then found by the magician effect, may not be seen as an envanishment and reproduction by justifiable purists who, should such be the case, may assign it to an additional magical form of preference such as LOST AND FOUND or BURIED AND EXHUMED, but still, the effect is certainly a sub species of envanishment (the card being put out of sight) and reproduction (the card being located and identified).
A LOCATOR CARD is a card used to find a selected (Dr. OM prefers the term: TAKEN) card by deceptively placing the locator card next to the taken card.
A MARKED CARD is a card, the back of which, has been imperceptively and encodedly marked to indicate the value and suit of the face of the card, e.g, value: three; suit: hearts.
The LOCATOR CARD and the MARKED CARD are familiar devices known even to the novice and layman, however, herein is described a most unusual, deceptive, misleading, and misdirective employment of both devices.
A spectator freely TAKES a card from the spread or fanned deck. The magician cuts the deck, requesting that the spectator place the taken card ( Always say: “TAKE a card”, rather than “Pick a card” or “Select a card;” and then say: “CONCENTRATE ON THE CARD,” rather than “Remember the card.”) on top of the tabled or magician’s hand held bottom packet. The magician then replaces the top packet ( a packet is any portion of the deck smaller than the whole deck) on top of the taken and replaced card, and executes a series of cuts (three or five; odd numbers being more consistent with statistical randomization than even numbers) each packet cut is randomly placed on the table top. The magician then reassembles the packet in a random order, causing the taken card to appear hopelessly lost in the deck.
The magician next requests the spectator to do likewise. When the spectator has randomly cut and reassembled the deck, the magician spreads the cards vertically with the faces facing the spectator, such that only the backs of the cards are visible to the magician.
Looking over the top edges of the cards in the deck so spread and directly into the eyes of the spectator, the magician UP JOGS* the taken card such that it rises above the top edges of the rest of the pack, saying: “I sense that this is your card,” and, of course, it is.
Unlike the result of a shuffle, cutting a deck of cards, even many times, will not disturb the adjacency of two cards. The statistical probability of a cut or a series of cuts separating two cards buried next to one another in the deck is highly unlikely.
Unlike a completely marked deck, only the locator card is a marked card. Being the only marked card in the deck, its detection is remote. Dr. OM marks his card with commercially manufactured white transfer marking sheets, placing a white S at each corner of the card just within, not on, the white border. The white S is camouflaged by the white filigreed decoration on the red back of a Bicycle Rider back card. Card handlers usually prefer blue backed cards as more deceptive to the eye, especially in the cases of a double lift or a false count, but Dr. OM prefers the hotter festive look of red backed cards, as more consistent with his style of performance. Until the student is able to obtain commercial markings, an extremely well sharpened hard leaded pencil may be used to impress a barely discernable dot at each corner, just within the white border, which is just as easy for the magician to glimpse as a commercial white marking, but may be easier for spectator’s to detect in later use of the deck when the backs are shown, in a subsequent effect.
Having marked the single card (Dr. OM uses the QUEEN OF HEARTS, his magical muse),
- preplace the marked card at the bottom of the deck.
- Have the spectator take a card.
- Holding the deck in the left hand mechanic’s grip.
Place the top packet on the table and request that the spectator replace the taken card on top of the tabled packet. Make sure that the spectator previously concentrates on the card and shows it to the others in the audience for their concentration, as well.
Execute the series of random cuts and reassemble the deck. Request that the spectator do the same. Pick up and vertically spread the deck with faces toward the spectators. Look over the top edges of the spread into the spectator’s eyes. Glimpse the back of the marked locator card. The spectator’s taken card will be the card immediately to the left of the marked locator card from the magician’s position of view (vantage). UP JOG (elevate) the marked card above the edges of the other spread cards, saying: “I sense that this is your card.”
Remove the taken card and give it to the spectator, but DO NOT say: “For your your examination,” or anything else of the sort. If the spectator does examine the card, it will prove clean. Close the spread, burying the marked locator card. The dirty work is on the marked locator card buried in the pack, once the spread is closed.
MISDIRECTION is provided by the multiple cutting of the deck, the magician looking at the backs rather than the faces of the cards, and the spectator’s attention misdirected to the clean taken card as the dirty marked locator card is buried in the spread.
NOTE: Given appropriate presentation style, the effect is performable as a straight card effect, a mind reading experiment, a feat of ESP, an act of psychic phenomenon, or any other manifestation your imagination can conjure up. Try it; you’ll like it.
*If you need help with any terms, please e-mail us.
Co-Director’s Notes: This lesson was created at approximately the same time as “The Perfect Card Trick” last month in the Beginner’s Study. Though it does have a few similarities in concept there are a number of different subtilties that the student may wish to take note of. See if you can find them!…BJG
DR. OM’S MAGIC LESSON IV
(The first installment incorporated lesson I, II & III)
I. In accordance with the I.C.O.M MAGICSCHOOL CURRICULUM SYLLABUS, THE CURRENT MAGICAL FORM OBJECTIVE TO BE STUDIED IS:
4) TO TRANSPORT (TO CHANGE THE LOCATION OF) ONE PHYSICAL OBJECT (Actually: a vanishment and reproduction).
In each lesson, Dr. OM strives to provide an excellent professional magical effect by way of example of the form under study, even though the primary goal of the course is to convey to the student the CONCEPT of each of the twenty-three forms. The student is encouraged to reread the course description before pursuing each lesson, as a reminder of proper practice procedure.
II. REQUISITE PROP MATERIALS: A DECK OF POKER SIZE PLAYING CARDS, OR A SIZE MORE SUITABLE TO THE STUDENT’S HAND SIZE.
III: TECHNIQUE DESCRIPTION: THE DOUBLE LIFT
Variant executions of the DOUBLE LIFT (lifting two cards as one) are in practice among professional magicians. Dr. OM has elected to present here an easy and efficient method, as follows:
1) Hold the deck in the left hand mechanic’s grip (NOTE: Some but not all, left-handed professional magicians of Dr. OM’s acquaintance choose to reverse the order of the hand manipulation, i.e: using the left hand, when the right hand is indicated and the right hand, when the left hand is indicated. The student should make the choice as early on as possible, for long term growth. Switching horses in the middle of the stream results in loss of time).
2) With the left index finger, push against the front edge of the deck, thereby in-jogging the top of the deck to cause a beveled back edge of the deck, allowing for easy pick-up of the two top cards.
3) At the back edge, lift the top two cards as if one card, at the right side back corner, with the right hand thumb and first finger. The right thumb, striking against the back edge of the two cards, push slides them forward on top of the deck.
4) The right hand thumb on top and the first and second fingers beneath, grasp and pinch the two cards together, at the front right corners, holding them as one card.
5) Turn both cards as one over m a sweeping forward, then backward, lengthwise motion, lining them up with the top of the deck.
6) Hold a left-handed pinky break under the back right corner under both lifted cards. A pinky break is effected by pressing as little as possible of the fleshy ball of the pinky under a card or cards, in order to hold them ever so slightly elevated in preparation for a later pick up.
7) Pause, Displaying top face up card (both lifted cards are of course now face up; the actual top card lies hidden under the second card) See photo below.
This is an exaggerated view of the DOUBLE LIFT. In reality, the two cards are squeezed together as they are lifted upwards and are not separated as shown. But here is shows the basic mechanics of the sleight.
8) Place first and second right fingers under back right corners of both cards held in the pinky break. Place the right thumb on top of the same corner and pinch the two cards together as one.
9) Slide the left long edges of both pinched cards as one from left to right along the top of the deck holding the long side edges of the cards in vertical position on top of right edge of deck top.
10) Still pinching corners, turn both cards over as one in turning of book page motion and LET FALL FACE DOWN as one card, on top of deck.
(NOTE: Thought, the left hand continuously squares up the two cards such that they constantly appear as one. With practice, all moves are to be interruptedly executed in a smooth continuous motion. As in the study of anatomy, the parts are broken down for clarity of explanation and progressive learning, but cannot exist and are not to be executed piecemeal. Do not perform any effect before an audience until all moves are mastered as one continuous, integrated motion)
Having executed the double lift moves through Number Eight, turn over only the top card, which will appear as a transportation to the audience who have been seeing the face of the second card, as it were the face of the top card. Herein are the bare bones of the top lift and disclosure. Imaginative ways of disclosing the apparently transported cards are in practice by professionals and should be imaginatively devised by the student. For Example, after having displayed the second card as if it were the top card and having executed the final drop move, the magician might pinch just the top card and extend it at arm’s length, saying: “Are you sure this card is the Three of Hearts? (the name of the previously displayed second card) The spectator should answer: “Yes.” Upon which the performer says: “Are you really sure?” and flip over the card to face the audience, revealing that it and the previously displayed card have apparently been transported. The effect may as well be regarded as a transformation of one card into the other. The lines among forms are at times not finely drawn. More elaborate card effects employing the top lift will be presented in subsequent lessons, as Dr. OM recycles through the study of magical forms.
ASSIGNMENT A: Devise at least one other novel way of disclosing the transformation.
ASSIGNMENT B: Referring to previous lessons one through three, presented in the last issue, effect a transformation of size, color, or entire object, utilizing pom poms or other small objects.
Over the years, Dr. OM has found himself to be amazed by magical effects performed by others, many of them quite simple effects, at that, only to be dismayed, upon having learned the effect himself, to discover that the magicality had passed. Please refer to Dr. OM’s TREATISE ON STAGECRAFT AND SHOWMANSHIP FOR THE PERFORMING MAGICIAN, ongoingly published by I.C.O.M, and read about believing and believability. The magician-actor must believe that magic is actually happening, in order that the audience believes. The treatise is a most important companion piece to the lessons presented in the MAGICSCHOOL. Just “DOING TRICKS” is not the goal of the magicschool. Rather, magical psychology, misdirection, concepts of magical forms, stagecraft, showmanship, and ultimately becoming professional performing magicians are the objectives ambitiously set by Directors Bobby J. Gallo and Bill Wisch for the students of MAGICSCHOOL.
TWO OR MORE PHYSICAL OBJECTS
(Actually: two vanishments and two reproductions)