The Magician's Magician

Total Page:16

File Type:pdf, Size:1020Kb

The Magician's Magician November 2014 Official Publication of The Society of Young Magicians Daryl The Magician’s Magician S.A.M.S.A.M. SPOSPOTLIGHTTLIGHT Whats on the Web wwwA brief look at what’s happening in magic on the Internet We want to provide you with a safe, comfortable shopping experience where you will feel confident in both the quality of the products you purchase and the service you will receive. Our customer service is friendly, efficient and always willing to offer help or advice on any of our products. http://www.daryl.net November 2014/The Magic SYMbol CONTENTSWHAT’S INSIDE 2 Spotlight - Convention Ad/What’s on the Web 8 Number magic 4 Letter From the Editor 9 Scouts Learn magic 5 Daryl Interview 10 SYM Pin Program 6 Daryl Continued 11 SYM Pin Program 7 SYM News Andy Ellson - Achievement Pin 12 Magic Fun Page - more number magic When a magician lets you notice something on your own, his lie becomes impenetrable. - Teller S.Y.M. WEBSITE S.A.M. WEBSITE www.magicsym.com www.magicsam.com The Society of Young Magicians (S.Y.M.) sponsored by The Society of American Magicians, is a world-wide organization for youth, ages 7 through 17. (At age 18 you graduate to membership in The Society of American Magicians.) The purpose of S.Y.M. is to promote interest in magic as a wholesome hobby that will help develop self-confidence and skill, the ability to speak in pub- lic, discipline that comes from learning, practicing and performing magic, and a sense of service to others through helping others learn magic and by performing magic at charitable events. The Society of Young Magicians has nearly 100 local chapters, called Assemblies, around the country. Adult supervision and instruction are provided by qualified members of the Society of American Magicians, one of the most prestigious world-wide organizations of its kind. HAVE A QUESTION? NEED ADVICE? CAN’T FIGURE OUT A TRICK? NEED GUIDANCE? DON’T KNOW WHAT TO DO NEXT IN MAGIC? The S.Y.M. has a panel of mentors ready to help you. Associate members who do not have an Assembly in their area now have a place to turn. Even members of a local Assembly can participate in this mentoring program. This is a free service and part of your S.Y.M. membership. To contact the SYMentor, simply e-mail your questions to: [email protected] Your question will be directed to someone who will help you from our panel of experts. Parents of SYM’ers may also write with questions. Be sure to get permission from your parents before writing. Letter from the editor The Michael A. Raymer Magic SYMbol Volume 30 Issue No. 11 • November 2014 1t’s 4ll in th3 The Magic SYMbol is a monthly publication Michael A. Raymer, Editor NUMB3R5 Bruce Kalver, Consulting Editor Articles are written by the editor unless otherwise noted. Editorial Offices: The Magic SYMbol Michael Raymer, Editor Numbers, they are all around us. When I was in elementary 5512 Pavilion Way school we had to practice our math skills. We learned addition, sub- Louisville, KY 40291 502-644-7829 traction, multiplication and division. We didn’t have calculators so [email protected] we had to do all the calculations in our head. That was something my parents were always very god at they could take a set of numbers S.Y.M. National Director and give you a total in seconds. Me, not so much, I always struggled with numbers. Jann Goodsell 329 West 1750 North The reason I bring this up is that I threw in some number tricks Orem, UT 84057 in this issue. They are really more like stunts but if presented in the 801-724-9758 right way can look like feats of mentalism. I have seen some people Fax: 801-802-8925 perform complete acts of rapid mathematical calculations and you [email protected] think “wow, that person must be a genius” - in some cases they are Dues Payment and in others they are using devices that we as magicians use. Change of Address/ New Memberships: We also have a great interview with Daryl that was done y a S.Y.M c/o fellow SYM member. If you interview a magician please send us a Manon Rodriguez copy and we’ll be glad to share it here so all the other SYM members National Administrator P.O. Box 505 can see it and learn from it. Parker, CO 80134 I’ve always liked Daryl - he was one of the first lectures I saw [email protected] and I remember his comedy and presentation were fantastic. He has a great line of magic and he has some wonderful instructional DVD’s The SocietySociety of of available. We’ve included a link to his website here in the issue as YoungYoung MagiciansMagicians well but I really hope you are given the opportunity to see him lec- Board ofof Directors Directors ture live it is a wonderful and fun time. Executive Board JannExecutive Goodsell • Andy Board Dallas Bruce Kalver EdJann Thomas Goodsell • Hope • Andy Anderson Dallas Bruce Kalver Until Next Month..... LanceEd Thomas Burton • • William Hope Anderson Andrews Jay Gorham • Char Gott ConnieLance Hatherill Burton • MarleneArlen Solomon Clark Connie Hatherill • Arlen Solomon HAS YOUR S.Y.M. MEMBERSHIP EXPIRED? If it has you should be receiving your renewal information by mail, please remember to renew your membership. 4 November 2014/The Magic SYMbol Magic SYMbol An Interview with Daryl by Anastasia, SYM 96 Secretary SYM Interviews Daryl is a World Champion, Svengali Deck routine for me. I was first place FISM Gold medal SO AMAZED, that he decided to give winning, close-up magician me the special deck as a gift. I studied with over 40 years of the construction of the pack and I was experience in both performing fascinated by how it worked. I started and selling the finest magic to purchase other tricks because in the world. Daryl performed I was amazed at the cleverness of as a headline act at Caesars their methods. Eventually, I started Palace in Las Vegas for seven performing the various tricks for years fine tuning his already family members and friends at school. encyclopedic knowledge of The rest is history! magic. Daryl has performed literally thousands of shows A: In magic, unlike most other art for audiences as diverse forms, a single error can seem to as the Witch Doctors on ruin an entire performance. Do the South Pacific island of you allow any margin for error in Vanuatu to the movers and your performance (as mentalists shakers of the political world some-times do)? How do you at the Presidential Ball in handle or avoid mistakes? Washington, D.C. D: Another great question! I do not “allow” any margin A: Daryl, My father has many of your videos and for error, but if an error occurs, I simply deal with it and it feels like I grew up watching them. I especially move on. I’m and entertainer and magic is my medium. remember in one of the series that each video It’s the “instrument” I use to express my-self. I do what I started with an introduction with you spreading can IN ADVANCE to prevent mistakes, but if all else fails, the cards and saying, “ I can explain it in one word, and I can’t make it right, I could imagine myself laughing and that word is control…” it off by saying something like, “If this were easy, anyone could do it!” If you really had to summarize the most important principle/method in magic in one word, what might That being said, so far, this has never happened. By the it be, and why?” way, if you do card magic, an EXCELLENT book to study is “Outs” Precautions and Challenges by Charles H. D: Great question and my answer is “Misdirection”. Why, Hopkins. because in magic, it’s ALL misdirection. It’s not really about what you do it’s what you make the audience THINK you A: Do you find that different groups respond do. It’s true that at times you may be misdirecting your differently to magic? (Children, teenagers, adults audience’s eyes, but more often you’re misdirection their and the elderly as well as male and female) MINDS. D: Yes, but as minute as the specifics can be, generally, A: Most magicians seem to begin to be interested reactions are probably more similar than different. in magic at an early age. Can you describe your first experience with magic and how it managed to grab A: How and how often do you practice, and who a hold of you? serves as a test audience for your new routines? D: At the age of seven, a friend of the family, who was an D: I don’t practice often these days because I have been amateur magician, came to visit and performed a quick PERFORMING the same routines for many years and November 2014/The Magic SYMbol 5 SYM INterviews Daryl Interview Continued I’d say I pretty much have them down. If I’m learning A: What is the best piece of advice about magic something new, then I practice until I can do it well. There you’ve received, and what was the source of that is not specific amount of time that is required that is the advice? same for everyone. Just keep practicing until you can perform it properly. D: Dai Vernon has always said, “Be natural and be yourself.” The professor’s advice has served me well! My friends and family serve as my test audience as well as members of various magic clubs.
Recommended publications
  • Street Magic Revealed
    Black Diamond Ultimate Street Magic Revealed Thank you for your purchase from Please feel free to … Take a look at our ebay auctions: ebay ID: www-netgeneration-co-uk Visit our website – www.netgeneration.co.uk Or send us an email - [email protected] 2 IMPROMPTU CARD FIND EFFECT A card is selected by a spectator and placed back on top of the pack. The pack is then cut several times and handed back to the magician. A pile of cards suddenly falls off the pack, leaving the magician holding the spectators card. METHOD When the card is selected by the spectator, the card on the bottom of the pack is crimped by the magician’s pinky. The spectator’s card is then placed on the top of the pack and the pack is cut. This now means that the spectator’s card is underneath the crimped card. The pack can be passed around the room to be cut several times and the spectator’s card will always be under the crimped card. The pack is then handed back to the magician who quietly puts his thumb under the crimped card appearing to be clumsy and allows the cards above his thumb to fall on the floor. The card under his thumb will be the spectators. The magician can also allow the rest of the cards to fall, leaving only the spectators card in his hand. This trick looks amazing because the audience has seen that the magician has not had a lot of contact with the pack and the whole routine has been totally impromptu.
    [Show full text]
  • The Expert Escamoteur's Equipment
    The Expert Escamoteur’s Equipment Tony Shiels An Exploration in Three Parts of Various Aspects of Cups and Balls Conjuring It is strongly recommended that you print this ebook out before reading. Staple the pages together - or better still take the pages to you local Staples or office supply store and have it bound. Add your own notes and ideas as they come to you. That way you will turn this ebook into a valuable reference document. Contents & illustrations copyright © Tony Shiels 1966 and 2006 These articles originally appeared in The Linking Ring, the magazine of The International Brotherhood of Magicians http://www.magician.org There is no charge for this ebook. You are free to share it with your friends provided it is left unedited and in its entirety. Introduction by Quentin Reynolds If you associate the name of Tony ‘Doc’ Shiels with weird, strange and bizarre magick, you will, no doubt, be surprised to discover that in his professional work, the Linking Rings and the Cups and Balls effects, were the stable part of his repertoire. As you read through this manuscript, and bear in mind it was written in 1966, you will be inspired by his enthusiasm for the subject. In more recent times the Cups and Balls has had a revival back onto the streets and is the featured effect by many of magic’s leading street performers. At the rear of this manuscript I’ve listed some recommended further reading, published since Tony’s articles first appeared in The Linking Ring. As publisher of one of Tony’s other books, The Shiels Effect http://www.TheShielsEffect.com I was delighted to discover some of his older writings lost in the files of magazines.
    [Show full text]
  • – Channing Pollock – Robert Harbin – Patrick Page
    “To see Cardini is like watching a trick fi lm.” – Patrick Page “I had the greatest magical experience of my life when I watched him perform.” – Robert Harbin “If I had seen him work when I was at the start of my career, I would have scrapped the profession and learned a different trade.” – Channing Pollock 42 MAGIC • august 2007 M192 Cardini_v1_FIN.indd 2 7/12/07 11:41:33 AM “The world’s outstanding stage exponent of pure sleight-of-hand.” – Milbourne Christopher “The greatest single act that ever appeared in the world to my way of thinking.” – Dai Vernon ~By John Fisher~ Magicians today acknowledge that the examples set by the legendary Car- dini — in technique, in suavity, and in career achievement — shone the light for them. It is probable that Cardini has still not been surpassed as both an entertaining and an artistic exponent of pure sleight-of-hand within the limitations of a short vaudeville act. MAGIC • august 2007 43 M192 Cardini_v1_FIN.indd 3 7/12/07 11:41:37 AM There could be no greater contrast between nipulate the cards at all without gloves. So he the fi fth, thimbles and fi re. The digital dexter- the level of sophistication which Cardini’s act practiced with them on and laid the ground- ity was present throughout, but he still per- came to epitomize and his early background. work for the exquisite skill and sensitivity that sisted in being a talking magician upon whose He was born Richard Valentine Pitchford on would come to form his act in later years.
    [Show full text]
  • Eugene Burger (1939-2017)
    1 Eugene Burger (1939-2017) Photo: Michael Caplan A Celebration of Life and Legacy by Lawrence Hass, Ph.D. August 19, 2017 (This obituary was written at the request of Eugene Burger’s Estate. A shortened version of it appeared in Genii: The International Conjurors’ Magazine, October 2017, pages 79-86.) “Be an example to the world, ever true and unwavering. Then return to the infinite.” —Lao Tsu, Tao Te Ching, 28 How can I say goodbye to my dear friend Eugene Burger? How can we say goodbye to him? Eugene was beloved by nearly every magician in the world, and the outpouring of love, appreciation, and sadness since his death in Chicago on August 8, 2017, has been astonishing. The magic world grieves because we have lost a giant in our field, a genuine master: a supremely gifted performer, writer, philosopher, and teacher of magic. But we have lost something more: an extremely rare soul who inspired us to join him in elevating the art of magic. 2 There are not enough words for this remarkable man—will never be enough words. Eugene is, as he always said about his beloved art, inexhaustible. Yet the news of his death has brought, from every corner of the world, testimonies, eulogies, songs of praise, cries of lamentation, performances in his honor, expressions of love, photos, videos, and remembrances. All of it widens our perspective on the man; it has been beautiful and deeply moving. Even so, I have been asked by Eugene’s executors to write his obituary, a statement of his history, and I am deeply honored to do so.
    [Show full text]
  • Therapeutic Magic: Demystifying an Engaging Approach to Therapy
    Therapeutic Magic: Demystifying an Engaging Approach to Therapy Steven Eberth, OTD, OTRL, CDP Richard Cooper, Ed.D, FAOTA, OTR Warren Hills, Ph.D, LPC, NCC ●What strategies could you use to introduce therapeutic magic with your clients? Quick Survey ●What barriers exist that may impede your ability to use therapeutic magic? History of Magic • Dr. Rich Cooper • In the beginning . ●The use of magic as a therapeutic activity has existed since World War 1 History of Magic ●Occupational therapy literature evidenced the use of therapeutic magic in 1940 History of ●Project Magic was conceived by magician, Magic David Copperfield and Julie DeJean, OTR ●In 1981, the Department of Occupational Therapy at the Daniel Freeman Center for Diagnostic and Rehabilitative Medicine in Inglewood, California piloted the use of magic History of ●In 1982, Project Magic was endorsed by the Magic American Occupational therapy Association ●The Healing of Magic program was developed History of by world renown illusionists Kevin and Cindy Magic Spencer ●In 1988, Kevin suffered injuries to his head and lower spinal cord from a near-fatal car accident ●In support of his own recovery, he worked with therapists in North Carolina on what was to become the foundation for “The Healing of Magic” ●Kevin earned Approved Provider Status from the American Occupational Therapy Association History of ●He is considered the leading authority on the therapeutic use of magic in in physical and Magic psychosocial rehabilitation https://www.spencersmagic.com/healing-of- magic/ Our Story Our humble beginning . ● How we got started ● The search for training materials begins ● What we’ve done: WMU Story ● # of students ● Grant for materials ● Resource boxes ● Documentation and reimbursement skills ● Program evaluation student surveys I am in my second fieldwork one right now at the Kalamazoo Psychiatric Hospital.
    [Show full text]
  • The Magic Collection of David Baldwin
    Public Auction #043 The Magic Collection of David Baldwin Including Apparatus, Books, Ephemera, Posters, Automatons and Mystery Clocks Auction Saturday, October 29, 2016 v 10:00 am Exhibition October 26-28 v 10:00 am - 5:00 pm Inquiries [email protected] Phone: 773-472-1442 Potter & Potter Auctions, Inc. 3759 N. Ravenswood Ave. -Suite 121- Chicago, IL 60613 The Magic Collection of David M. Baldwin An Introduction he magic collection of David M. Baldwin (1928 – 2014) Tis a significant one, reaching back to the glorified era of nineteenth century parlor and stage magic that sees its greatest physical achievements embodied in the instruments of mystery we offer here: clocks, automata, and fine conjuring apparatus. It crosses into that treasured phase of the twentieth century when the influence magic held over Western popular culture reached its zenith, and continues on to the present age, where modern practitioners and craftsmen commemorate and reinvigorate old A thoughtful and kind gentleman, he never spoke unkindly about ideas in new forms. anyone. He was modest, generous, and known by many for his philanthropy in supporting the visual and performing arts, medicine, The bedrock of the collection is composed of material the education, and, of course, magic. Among his contributions to other sources of provenance of which will be well known to any conjuring organizations, he was a major benefactor to The Magic Circle, collector or historian of the art: the show, personal artifacts and and was awarded an Honorary Life Member of the Inner Magic Circle. props gathered and used by Maurice F. Raymond (“The Great Raymond”); the library and collection of Walter B.
    [Show full text]
  • Magic Show! 2 Choose a Trick to Perform
    EI-5166 Ages 6+ Grades 1+ MagicMagic SchoolSchool TextbookTextbook Begin magic school here! Welcome to the Magic Show! 2 Choose a trick to perform. You have just entered the exciting, magical world of illusion. Spend some time The number of stars next to the title of each trick indicates how easy a trick is studying steps 1-5 to understand how this book works. Then turn the page to begin to learn and perform. Start with the # tricks. They are easy to learn and do your magic schooling. Soon, everyone will be yelling, “How did you do that?” not require much practice. The ## tricks are easy, but require more practice. The ### tricks require more time to learn and some more practice to get the illusion just right. Study the diagram below to understand the format for Becoming a Magician the tricks. Become familiar with your props. 1 Here are the magical items included in this kit. Study the pictures and their names below. If you are learning a trick and do not know what an item is, refer back to these pictures. Magic wand Surprise Blue trick box bottle with lid Egg cup Vanishing and half egg water vase Green trick box Practice your tricks. Metal ring 4 plastic rings with loose partition 3 (red, yellow, blue) Before the day of your big performance, practice, practice, practice! Red square with hole Memorize the tricks you plan to perform. You don’t want to be looking at this and 2 plastic windows guide during your show. It’s a good idea to practice in front of a mirror, with 4 rubber bands Spring too.
    [Show full text]
  • Bibliography of Works by Roberto Giobbi Status: May 2019
    Bibliography of Works by Roberto Giobbi Status: May 2019 Books • Fantasia in As-Dur, Magic Communication Roberto Giobbi, Basel 1987 • CardPerfect, Magic Communication Roberto Giobbi, Basel 1987 • roberto-light, Magic Communication Roberto Giobbi, Basel 1988 • Grosse Kartenschule Band 1, Magic Communication Roberto Giobbi, Basel 1992 • Grosse Kartenschule Band 2, Magic Communication Roberto Giobbi, Basel 1992 • roberto extra-light, Magic Communication Roberto Giobbi, Basel 1992 • Grosse Kartenschule Band 3, Magic Communication Roberto Giobbi, Basel 1994 • Grosse Kartenschule Band 4, Magic Communication Roberto Giobbi, Basel 1994 • Cours de cartomagie moderne Tome 1, Magix, Strasbourg 1994 • Gran Escuela Cartomagica, Volumenes 1 y 2, Paginas, Madrid 1994 • Card College Volume 1, Hermetic Press, Seattle 1995 • Gran Escuela Cartomagica, Volumenes 3 y 4, Paginas, Madrid 1995 • roberto super-light, Magic Communication Roberto Giobbi, Basel 1995 • Cours de Cartomagie Moderne Tome II, Magix, Strasbourg 1996 • Roberto Light, Paginas, Madrid 1996 • Roberto Super Light, Paginas, Madrid 1996 • Roberto Extra Light, Paginas, Madrid 1996 • Card College 1, Corso di Cartomagia Moderna, Florence Art Edizioni, Firenze 1998 • Card College 2, Corso di Cartomagia Moderna, Florence Art Edizioni, Firenze 1999 • Il sogno del baro, Florence Art Edizioni, Firenze 1999 • Card College 3, Corso di Cartomagia Moderna, Florence Art Edizioni, Firenze 2001 • Roberto Light, Florence Art Edizioni, Firenze 2001 • Roberto Extra-Light, Florence Art Edizioni, Firenze 2001 • Roberto Super-Light, Florence Art Edizioni, Firenze 2001 • Card College Volume 1 (Japanese version), Tokyo 2001 • Card College Volume 2 (Japanese version), Tokyo 2002 • Card College Volume 5, Hermetic Press, Seattle 2003 • Grosse Kartenschule Band 5, Magic Communication Roberto Giobbi, Basel 2003 • Cours de Cartomagie Moderne Tome 3, Magix, Strasbourg 2005 • Card College Light, Hermetic Press, Seattle 2006 • Roberto Light (version française), C.C.
    [Show full text]
  • As We Kicked Off the New Millennium, Readers of This
    s we kicked off the new Amillennium, readers of this magazine cast their ballots to elect the ten most influential magicians of the 20th century. Although there were some sur- prises, few could argue with the top two — Harry Houdini and Dai Vernon. While scores of books have been written about Houdini, David Ben has spent the past five years prepar- ing the first detailed biography of Dai Vernon. What follows is a thumbnail sketch of Vernon’s remarkable life, legacy, and con- tribution to the art of magic. BY DAVID BEN Scene: Ottawa admired performers such as T. Nelson to learn, however, that he might as well have Scene: Ballroom of the Great Year: 1899 Downs, Nate Leipzig, and J. Warren Keane been the teacher. Northern Hotel, Chicago David Frederick Wingfield Verner, born more. He marveled at their ability to enter- In 1915, New York could lay claim to Year: 1922 on June 11, 1894, was raised in the rough- tain audiences with simple props and virtu- several private magic emporiums, the places On February 6, 1922, Vernon and his and-tumble capital of a fledgling country, oso sleight of hand. Coins flitted and flick- where magic secrets were bought, built, and confidant, Sam Margules, attended a ban- Canada, during the adolescence of magic’s ered through Downs’ fingers, while Leipzig sold. Much to Vernon’s chagrin, the propri- quet in honor of Harry Houdini in the Golden Age. It was his father, James Verner, and Keane, ever the gentlemen, entertained etor and staff at Clyde Powers’ shop on Crystal Ballroom of the Great Northern who ignited his interest in secrets.
    [Show full text]
  • Puzzling Magic Set
    Puzzling Magic Set 9 2 1 12 8 7 3 4 5 6 Contents: 1. THE RUBIK’S TRIANGLE 6. CLASSIC SIZED TRICK CUBE 2. RUBIK’S TUBE 7. RUBIK’S MENTAL CUBE BOX AND SHELL 3. RUBIK’S CUBE BOX 8. RUBIK’S CUBE CLONING (RUBIK’S CUBE 4. 11 RUBIK’S ESP CARDS JAR, TRICK CUBE, AND 8 MINI CUBES) 5. 56 RUBIK’S MAGIC CARDS 9. 6 RUBIK’S HANKIES 10. INSTRUCTIONAL VIDEO DOWNLOAD INSTRUCTIONAL VIDEO DOWNLOAD Fantasmamagic.com/PuzzlingMagicSet Amazing, easy-to-perform tricks by Steve Vil. Layout by Jack Tawil, Suji Park, & Jessica Mercado. ©2017 Fantasma Toys Inc., www.FantasmaToys.com New York, NY 10001, USA . Made in China. ©1974 Rubik’s ® Used under licence Rubik’s Brand Ltd. All rights reserved. rubiks.com A Smiley company production | smiley.com • Keep for future reference. • Colours, style and decoration may vary. • Some tricks may require the use of ordinary household items. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. I TRICKS WITH THE RUBIK’S MENTAL 36. TIED AND UNTIED ...................................... 10 CUBE BOX AND SHELL 37. SUDSO ....................................................... 10 1. THE RUBIK’S MENTAL CUBE BOX AND SHELL 1 38. RESTORED ROPE ......................................... 10 2. THE RUBIK’S MENTAL CUBE PREDICTION .... 1 39. A COOL SHOW FINISH ............................... 10 3. THE VANISHING RUBIK’S CUBE ..................... 1 40. ANOTHER COOL SHOW FINISH! ................. 10 TRICKS WITH THE RUBIK’S CUBE BOX TRICKS WITH THE RUBIK’S CARDS 4.
    [Show full text]
  • Biblioteca Digital De Cartomagia, Ilusionismo Y Prestidigitación
    Biblioteca-Videoteca digital, cartomagia, ilusionismo, prestidigitación, juego de azar, Antonio Valero Perea. BIBLIOTECA / VIDEOTECA INDICE DE OBRAS POR TEMAS Adivinanzas-puzzles -- Magia anatómica Arte referido a los naipes -- Magia callejera -- Música -- Magia científica -- Pintura -- Matemagia Biografías de magos, tahúres y jugadores -- Magia cómica Cartomagia -- Magia con animales -- Barajas ordenadas -- Magia de lo extraño -- Cartomagia clásica -- Magia general -- Cartomagia matemática -- Magia infantil -- Cartomagia moderna -- Magia con papel -- Efectos -- Magia de escenario -- Mezclas -- Magia con fuego -- Principios matemáticos de cartomagia -- Magia levitación -- Taller cartomagia -- Magia negra -- Varios cartomagia -- Magia en idioma ruso Casino -- Magia restaurante -- Mezclas casino -- Revistas de magia -- Revistas casinos -- Técnicas escénicas Cerillas -- Teoría mágica Charla y dibujo Malabarismo Criptografía Mentalismo Globoflexia -- Cold reading Juego de azar en general -- Hipnosis -- Catálogos juego de azar -- Mind reading -- Economía del juego de azar -- Pseudohipnosis -- Historia del juego y de los naipes Origami -- Legislación sobre juego de azar Patentes relativas al juego y a la magia -- Legislación Casinos Programación -- Leyes del estado sobre juego Prestidigitación -- Informes sobre juego CNJ -- Anillas -- Informes sobre juego de azar -- Billetes -- Policial -- Bolas -- Ludopatía -- Botellas -- Sistemas de juego -- Cigarrillos -- Sociología del juego de azar -- Cubiletes -- Teoria de juegos -- Cuerdas -- Probabilidad
    [Show full text]
  • Reception and Adaptation: Magic Tricks, Mysteries, Con Games
    Reception and Adaptation: Magic Tricks, Mysteries, Con Games by Joseph Daniel Culpepper A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Comparative Literature University of Toronto © Copyright by Joseph Daniel Culpepper 2014 Reception and Adaptation: Magic Tricks, Mysteries, Con Games Joseph Daniel Culpepper Doctor of Philosophy Centre for Comparative Literature University of Toronto 2014 Abstract This study of the reception and adaptation of magic tricks, murder mysteries, and con games calls for magic adaptations that create critical imaginative geographies (Said) and writerly (Barthes) spectators. Its argument begins in the cave of the magician, Alicandre, where a mystical incantation is heard: "Not in this life, but in the next." These words, and the scene from which they come in Tony Kushner's The Illusion, provide the guiding metaphor for the conceptual journey of this dissertation: the process of reincarnation. The first chapter investigates the deaths of powerful concepts in reader-response theory, rediscovers their existence in other fields such as speech-act theory, and then applies them in modified forms to the emergent field of performance studies. Chapter two analyzes the author as a magician who employs principles of deception by reading vertiginous short stories written by Jorge Luis Borges. I argue that his techniques for manipulating the willing suspension of disbelief (Coleridge) and for creating ineffable oggetti mediatori (impossible objects of proof) suggest that fantastic literature (not magical realism) is the nearest literary equivalent to experiencing magic performed live. With this Borgesian quality of magic's reality-slippage in mind, cross-cultural and cross-media comparisons of murder mysteries and con games are made in chapter three.
    [Show full text]