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– 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. -
Messing with People's Minds Without Rabbits Or Hats
Chapter 1 Messing with People’s Minds without Rabbits or Hats In This Chapter ▶ Introducing magic and mentalism ▶ Deceiving the senses ▶ Looking into the human brain ▶ Examining how mentalism works or millennia sorcerers, shamans and priests used cunning, sleight of Fhand, clever ruses, gimmicks, gaffs and props to validate their authority and maintain control over the masses. Over several hundred years, however, the art of conjuring slowly morphed into a respectable form of entertainment. Magicians became admired for their skills instead of feared for their ‘mira- cles’. The nature of mental magic means that mentalists often walk a very fine line between entertainment and psychic fraud. In this chapter, I provide an introduction to the art of mentalism and the vari- ous ways in which you can, and in certain cases should never, use it. UnderstandingCOPYRIGHTED That Magic MATERIAL Is All in the Mind A mysterious man stands with his back to a woman on stage. He’s almost sinister looking, with his jet-black mane shaved into a widow’s peak. Nothing is said between the two people as they draw images on notepads – she draws the first thing that comes into her mind and he sketches the impressions he’s receiving from her. They’ve never met before, but when they turn around and reveal the drawn images, they match perfectly. 005_9781119953500-ch01.indd5_9781119953500-ch01.indd 9 33/14/12/14/12 88:54:54 PMPM 10 Part I: Going Purely Mental Travelling light Mentalism is simple, but powerful. I love that you I can stand in front of an audience of 5,000 or don’t have to carry around a lot of props. -
Harvard- Educated Magician and Puzzle Maker on Magic As Storytelling
Co.CREATE Co.EXIST Co.DESIGN Co.LABS SUBSCRIBE CREATE DAILY Co.CREATE “NOW YOU SEE ME” HARVARD- CREATIVITY \ CULTURE \ COMMERCE EDUCATED MAGICIAN AND PUZZLE EDITOR: MAKER ON MAGIC AS TERESSA IEZZI STORYTELLING TWO THOUSAND AND 06 / 06 THIRTEEN BY: SUSAN KARLIN Now You See Me’s magic consultant, David Kwong, reveals how helping the cast master real sleight-of-hand moves helped authenticate the film’s EDITOR'S PICKS characters and enhance its storytelling. 40 99 In an age of CGI, why bother with a magic consultant? The early moments of Now You See Me answer this question--when the movie audience becomes the foil in a real magic trick. After a few seconds WORK MODE: of spirited card deck cuts and shuffles, an illusionist played by Jesse FROM BEETHOVEN TO WOODY ALLEN— THE DAILY RITUALS OF THE WORLD’S Eisenberg shuffles the card faces to the audience and tells us to pick one. MOST CREATIVE PEOPLE AND WHAT YOU We do and--there’s a collective gasp--that’s the card that flashes in lights CAN LEARN FROM THEM on the skyscraper behind him. How the hell? “There’s an authenticity that people can detect with actual sleight-of- hand,” says David Kwong, a 32-year-old Harvard-educated magician and puzzler who designs and advises on illusions for film and TV, and writes crossword puzzles for The New York Times. “Both of those moments are really important in establishing the skills and technical abilities of the characters. We open the film that way, so when things get more exaggerated later, the audience has been grounded in the reality of that first authentic -
The Underground Sessions Page 36
MAY 2013 TONY CHANG DAN WHITE DAN HAUSS ERIC JONES BEN TRAIN THE UNDERGROUND SESSIONS PAGE 36 CHRIS MAYHEW MAY 2013 - M-U-M Magazine 3 MAGIC - UNITY - MIGHT Editor Michael Close Editor Emeritus David Goodsell Associate Editor W.S. Duncan Proofreader & Copy Editor Lindsay Smith Art Director Lisa Close Publisher Society of American Magicians, 6838 N. Alpine Dr. Parker, CO 80134 Copyright © 2012 Subscription is through membership in the Society and annual dues of $65, of which $40 is for 12 issues of M-U-M. All inquiries concerning membership, change of address, and missing or replacement issues should be addressed to: Manon Rodriguez, National Administrator P.O. Box 505, Parker, CO 80134 [email protected] Skype: manonadmin Phone: 303-362-0575 Fax: 303-362-0424 Send assembly reports to: [email protected] For advertising information, reservations, and placement contact: Mona S. Morrison, M-U-M Advertising Manager 645 Darien Court, Hoffman Estates, IL 60169 Email: [email protected] Telephone/fax: (847) 519-9201 Editorial contributions and correspondence concerning all content and advertising should be addressed to the editor: Michael Close - Email: [email protected] Phone: 317-456-7234 Submissions for the magazine will only be accepted by email or fax. VISIT THE S.A.M. WEB SITE www.magicsam.com To access “Members Only” pages: Enter your Name and Membership number exactly as it appears on your membership card. 4 M-U-M Magazine - MAY 2013 M-U-M MAY 2013 MAGAZINE Volume 102 • Number 12 26 28 36 PAGE STORY 27 COVER S.A.M. NEWS 6 From -
193 145 7806 Howard Thurston's CARD TRICKS
PRICE 25 CENTS IN STORAGE Ohio 793.85 T545c 193 145 7806 et BHT Howard Thurston's CARD TRICKS Being a fin de sitcle manual on the Art of Conjuring with Cards, including, among many hitherto unpublished novel and unique experiments, a comprehensive description of THE CONTINUOUS FRONT- AND BACK HAND PALM WITH CARDS AND THE SENSATIONAL NEW RISING CARD TRICK as presented by the Author in the leading Vaudeville Theatres of the World, including the PaUcs Theatre1, London, for six consecutive months. 'jfortje*ti\>e Illustrations COLUMBUS PUBLIC LIBRARY" COLUMBUS AND OHIO DIVISION <MIM>mu- COPYRIGHT, 1903, BY HENRY J. WEHMAN, PREFACE. IN presenting to my magical confreres and the pub lic in general this contribution to the already ex tensive literature on Conjuring and Card Tricks, I would point out that I can make no excuse for the raison d'etre of this book beyond the fact that I have been led to believe that a strictly ORIGINAL TREATISE, embracing the very latest sleights with playing-cards, combined with descriptions of many new and hitherto unknown non-sleight-of-hand card tricks, would meet with approbation from amateurs and professionals alike, taking into con sideration the ever-increasing popularity of the Magician's Art. HOWARD THURSTON. PALACE THEATRE, LONDON, January, 1901. O L.L. •3 CONTENTS. CHAPTER I. A FEW INCIDENTS IN THE LIFE OF HOWARD THURSTON, PREMIER CARD MANIPULATOR OF THE WORLD, ....... I CHAPTER II. INDISPENSABLE SLEIGHTS, 10 CHAPTER III. THE CONTINUOUS FRONT- AND BACK-HAND PALM, WITH CARDS AND TRICKS IN CONNECTION THEREWITH, 19 CHAPTER IV. -
On Training in Sleight of Hand Magic
Theatre, Dance and Performance Training, 2016 Vol. 7, No. 2, 283–296, http://dx.doi.org/10.1080/19443927.2016.1175501 An autobiography of hands: on training in sleight of hand magic 1 1. With thanks to Lucy Augusto Corrieri Cash, Luca Mattei and Aurelio Paviato, with whom recent conversations greatly informed this text. All the illustrations are by Nelson C. Hahne, taken from Bobo ([1952]1982). Written in an autobiographical frame, this text is a !rst-person account of an intensive process of training in sleight of hand magic, undertaken by the author in his teenage years. Accompa- nied by a short online video, as well as illustrations from a classic book on coin magic, the text explores the con!guration of the conjuror's studio, the relation to the mirror, and the forms of exchange with other sleight of hand magicians. The biographical narrative then considers what happened when this intensive training was later abandoned - its effect and continued resonance - and ends with a brief note on how it is now being resumed. Keywords: sleight of hand, magic training, card magic, body memory And maybe theory is biography. (Xavier Le Roy) Let’s begin with a simpli!ed curriculum vitae (from the Latin, ‘the course of one’s life’). Augusto Corrieri Born in Milan, Italy, 1980 1994ಥ1999 Trains as a sleight of hand magician. Wins competition prizes and gains entry to Magic Circle. 2000ಥ2014 Abandons magic. Moves to England to study contemporary theatre (BA and PhD degrees). Develops body of work in performance and conceptual dance. 2014ಥpresent Resumes magic, presenting a show under the pseudonym Vincent Gambini. -
Jan :: Something About Magic
Jan. 2019 // Magic Pop-Up // Something About Magic And Magician Culture by Geoff Kanick magic sleight-of-hand prestidigitation conjuring There are different ways to define it. How do you define it? The power of apparently influencing the course of events by using mysterious or supernatural forces. Teller defined it as: The theatrical linking of a cause with an effect that has no basis in physical reality, but that — in our hearts — ought to. I asked my 4 year old niece Coco what magic is and she said, “A lot…and none.” Which might be the most profound answer. There are many categories of magic: Close-up magic Stage magic Illusions, which are sometimes called Big Box Magic There’s parlor magic Mentalism… which some mentalists argue is not magic Street magic Bizarre magic Mathemagic Card magic Coin magic Comedy magic Kids magic Gospel magic Quick Change Acts Manipulation Acts Cardistry Escapology Pickpocket Routines Impromptu Magic There are people rooted in the traditions of the Spanish school of magic. Jan. 2019 // Magic Pop-Up Others who look to the teachings of Dai Vernon and Charlie Miller. There are lectures and conventions, big conventions where more than 1000 magicians gather and fill an expo hall with magic and vendors and late night jam sessions. Some magicians call them tricks, some call them effects, or illusions. There are debates whether to use a push off or a strike. Snap changes Double deals The Diagonal Palm Shift The Pass Erdnase color change The Bubble Peek The Glide Riffle Shuffle OverHand Shuffle Waterfall Shuffle Faro Shuffle Hindu Shuffle Zarrow Shuffle A triple cut An Under Cut A Table Cut A Slug A Stack A Peek A Glimpse A Steal An X Card An Out A Trap A Flash A Gaff A Fan A Pressure Fan A Card Spring A Dribble Feeling Heat And hours in front of the mirror Lots of different thoughts about who Erdnase really was… Jan. -
Dai Vernon & Bruce Cervon
Public Auction Sale #005 The Collections of Dai Vernon & Bruce Cervon and Fine Vintage Magic, Including Apparatus, Posters, Ephemera and Rare Books Saturday, January 30, 2010 10:00 AM Exhibition January 28 &29, 10 - 5 For Inquiries, call 773-472-1442 Or email [email protected] The printed edition of this catalog is available from www.potterauctions.com Place bids and browse color photos of each lot (beginning Dec. 22) at www.liveauctioneers.com Auction & exhibition to be held at our new Chicago gallery (address below) 3726 N. Ravenswood Ave. -Suite 116- Chicago, Illinois 60617 Introduction ollywood became the center of the magic world in 1963. That year, Dai Vernon, known to Hmagicians world wide as “The Professor,” moved to California. On arrival, Vernon took up residence at the Magic Castle, where he would remain a fixture for the next 25 years — and become an icon. From the Castle flowed Vernon’s dictum of natural magic; he avowed deep study of the art as a route to perfection. These and other mantras he would impart both through the written word and in person, to countless associates, fans and students. In 1964, a Midwestern sleight-of-hand artist, Bruce Cervon, also moved west. Southern California, he’d been assuredd, was the nexus of all things magical. The Magic Castle was the place to perform close-up magic. And Vernon was there. Almost immediately upon their initial meeting, Cervon and Vernon developed a strong, important friendship and student/teacher relationship. From their sessions came weighty ideas, concepts and published works: most prominently, Cervon’s Castle Notebooks and The Vernon Chronicles. -
Magic Collection
Magic Collection: A Preliminary Inventory of the Collection at the Harry Ransom Center Descriptive Summary Title: Magic Collection Dates: 1787-2005, undated Extent: 31 document boxes (13.02 linear feet), 3 oversize boxes (osb), 20 flat file drawers Abstract: The Magic Collection contains clippings, correspondence, handbills, photographs, playbills, posters, printed material, and other items related to magicians and entertainers who performed tricks and illusions, including ventriloquism, sleight-of-hand, mind-reading, levitation, and other acts. Also included are subject files, publications, and magic trick descriptions. Call Number: Performing Arts Collection PA-00054 Language: English Access: Open for research. One box contains clippings and excerpts from newspapers that are too fragile to handle and therefore is restricted. Researchers must create an online Research Account and agree to the Materials Use Policy before using archival materials. Documents containing personal information are restricted due to privacy concerns during the lifetime of individuals mentioned in the documents; in many instances, these documents have been replaced with redacted photocopies. Use Policies: Ransom Center collections may contain material with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations. Researchers are advised that the disclosure of certain information pertaining to identifiable living individuals represented in the collections without the consent of those individuals may have legal ramifications (e.g., a cause of action under common law for invasion of privacy may arise if facts concerning an individual's private life are published that would be deemed highly offensive to a reasonable person) for which the Ransom Center and The University of Texas at Austin assume no responsibility. -
In the Magic Circle
IN THE MAGIC CIRCLE. BY HENRY RIDCELY EVANS. I. WHEN the citizen-king, Louis Philippe, ruled over the destinies of la belle France, there resided in Paris an old man by the name of M. Roujol, familiarly known among his confreres as "Father" Roujol. He kept a modest shop in the Rue Richelieu for the manufacture and sale of magical apparatus. The professional and amateur conjurers of the French capital made Roujol's their meeting place. "The Due de M.—," says Robert-Houdin, "did not dis- dain to visit the humble emporium of the mystic art, and remain for hours conversing with Roujol and his associates." It was here that Houdin became acquainted with Jules de Rovere, of noble birth, a conjurer who abandoned the title of escamoteur, as beneath his aris- tocratic dignity, and coined for himself the pompous cognomen, prestidigitateur, from presti digiti (activity of the fingers). The French Academy sanctioned the formation of this word, thus hand- ing it down to posterity. Jules de Rovere also called himself Physi- cien du Rot. Old Father Roujol is dust long ago ; he has no succes- sor in France. But we have a replica of his quaint place in New York City. On Sixth Avenue, not far from Thirtieth Street, is the shop of the Martinka Brothers. It is located on the ground floor of a dingy old building. In front is a tiny window, with a variety of magical apparatus displayed therein. Above the door in tarnished gold let- ters is the sign "Palace of Magic." The second floor is occupied by a Chinese restaurant. -
Lennart Green and the Modern Drama of Sleight of Hand
Lennart Green and the Modern Drama of Sleight of Hand Geoff Tibbs Independent Scholar ABSTRACT The broad purpose of this essay is to suggest an approach to sleight of hand magic, which looks at its social resonances as a dramatic medium. I outline a modern tradition of sleight of hand, that is a form of sleight of hand that was self-consciously described as modern by magicians. This tradition takes shape in the mid- to late- nineteenth century, and its stylistic influence extends well into the twentieth century. I argue that this modern style had a specific set of social resonances, which help to explain the power of sleight of hand magic as a form of performance. In particular, modern sleight of hand was intimately intertwined with the relationship between magic and crime, and with a now-unfamiliar distinction between magic and juggling. The point of this exploration, though, is not purely historical. Through it, I want to lay some ground for cultural criticism of contemporary magic. In this, my subject and stimulus is the Swedish card maestro Lennart Green. KEYWORDS Sleight of Hand; Magic; Modernity; Juggling; Crime; Robert-Houdin; Cardini; Manipulation; Lennart Green. LENNART GREEN Lennart Green cuts an unlikely figure on stage. The Swedish doctor-turned-magician has a portly build, speaks with a thick accent, and muddles his words. An untidy mop of hair hangs over his forehead. At the beginning of his 2005 TED performance, he looks slightly as though he has been squeezed into a suit for the occasion (TED, 2008; all references are to this performance). -
Twentieth Century Hall of Fame 1 (Pdf) Download
Those who impacted the art in America We begin a year-long review of significant people on the American panorama of magic during the 100-year period known as the 20th century. It is by no means a chronology' of the successes. failures, or the evolution of the craft within this time frame. Instead. it is a month-to-month enumeration of those people who - in some eventful or consequential way - have influenced. shaped. or impacted the performing art of magic in the United States of America. Embodied will be the celebrities as well as the amateur. trailblazers and stvle-setters. teachers and artisans. the inventive. the literate. and the legendary. as well as an eccentric or two. Certain contemporaries have had insuffient years to assert their influence. therefore. they will not likely appear. Each month. ten or so of magic’s significant will be saluted. There will be no ranking of the file as each cadre proudly passes in review. As the year’s end nears. and when the procession of 100 reaches its culmination. top honors and decorations will be bestowed. Our readers will be invited to select the //e plus ultra of those who most impacted the art in this century. It has been written that the history of the 20th Century actually begins in the 1870s, with the advent of the Technological Revolution. If true, it’s conceivable that Modern Magic, first published as a volume in 1876, is prologue to magic literature of the 1900s. The first edition of 2,000 copies of Modern Magic sold out in Great Britain within six weeks.