THE ART OF THE STAGE

MAGICAL

STAGECRAFT AND SHOWMANSHIP

AMERICAN MAGIC CORPORATION

O N L Y A D D R E S S :

WILL ANDRADE 2 0 1 B O U R K E S T . .

M E L B O U R N E .

llB«'

— W I L L A L M A M.I.M.C. (LONDON)

The Art of the Stage PART ONE

Magical Stagecraft including

Effective Entrance, Dramatic Presentation,

Elocutionary Principles, Pronunciation,

Carriage, Gesture, Voice Power,

Bowing, Dress and Stage

Deportment

By BURLING HULL author of

"Expert Billiard Ball Manipulation"

"Matter Sleights with'Billiard Balls"

"Bulletin of Latest Sleights and Tricks"

"Thirty-one Rope Ties and Chain Releases"

"Sealed Mysteries"

"Sleight Sheets"

"Deviltry"

"Sleights"

C O P Y R I G H T , 1 9 1 4

AMERICAN MAGIC CORPORATION PUBLISHERS

LONG BEACH BUILDING NEW YORK CITY iimmuiiiiMm—ii

Contents of Tart Tlvo

"Magical Showmanship"

U N I F O R M W I T H T H I S V O L U M E

STAGE FRIGHT AND ITS CURES: I t s c a u s e a n d a c e r t a i n m e t h o d o f

avoiding it. STAGE NERVOUSNESS ANOTHER T H I N G : H O W e x p e r i e n c e d p e r f o r m -

ers overcome its at tacks—advice f rom the author.

Music FOR MAGICAL ACTS: Suitable pieces suggested—their appli-cation.

OPENING TRICK : S ty le of trieks suitable f o r o p e n i n g — b a d results of good tricks used f o r opening—the performance—lis t of tricks suggested for opening and methods of presenting t h e m — o r i g i n a l opening tr icks b y the author designed for L y c e u m use—construct ion of opening tricks.

SECURING APPLAUSE : Methods of leading audience to a p p l a u d — a n d applause-drawing t r icks—creat ing applause—methods of creating applause—start ing a p p l a u s e — f o r c i n g applause when s l o w — w h y some acts go " c o l d " — s e c r e t of drawing applause—methods of dramatic pre-sentation to draw applause—handl ing cur ta ins—using curtains to prolong applause—curta ins at end of illusion act.

CONCLUSION OF ACT: Curta in ca l ls—speaking before c u r t a i n — bowing off.

ENCORES: Great danger of employing even the best of tr icks f o r encores—list of tricks suitable f o r encores—author 's suggestions—some humorous effects for encores—where encores can be used to advantage.

PROGRAM OF HITS FOR SPECIAL OCCASIONS : H i t s f o r l a r g e c o n v e n -

t ions—some combinations suggested for lodge and c l u b — h i t s for chil-dren's entertainments—hits for church enterta inments—features for chi ldren's entertainments—special program f o r private society enter-tainments.

PREFACE

W h e n a m a g i c a l student of some y e a r s of experience, h a v i n g

solved the myster ies of magic, mastered his manipulat ions and made an

appropr iate expendi ture on apparat i a n d m a g i c a l equipment, essays

his first bona fide professional p e r f o r m a n c e ; he suddenly discovers

t h a t he is a ver i table novice in the real ar t of the stage. I t m a k e s no

d i f ference w h e t h e r he has devoted five y e a r s or ten y e a r s to p r i v a t e

practice and s t u d y ; whether he knows every trick in the dealer 's cata log;

w h e t h e r he has w r i t t e n his " O r i g i n a l C r e a t i o n s " f o r the m a g i c a l

magazines , or w h e t h e r he has g iven one, or one h u n d r e d per formances

at part ies , at his lodge or his church, and t h e r e b y fee ls himself equal

if not the superior of many professionals. W h e n he first steps out

before a real a u d i e n c e — n o t an audience composed of a f e w h u n d r e d

persons, a church audience, or chi ldren 's audience, or a club or lodge

audience which is a lready in a good h u m o r ; but a real theatre or

lyceum or convention audience composed of persons who arc used to

a t t e n d i n g the theatre and wi tness ing acts of the first o r d e r — i n other

words , the k i n d of audience t h a t sits b a c k and seems to say, " W e l l , go

ahead a n d show us w h a t y o u h a v e " — t h e n all his k n o w l e d g e and

experience in magic , as he k n o w s it, pales into insignif icance before

that "something." Something which does not .appear in the cata-

logs, or sold over the Dealer ' s counter. Something not found in magical

books or magazines, nor learned f r o m the "Would-be- i f - they-had-a-

c h a n c e , " magic ians , w h o lounge about the m a g i c a l stores and te l l us

w h a t is the m a t t e r w i t h Magic . This S o m e t h i n g is the T h i n g w h i c h

makes the difference between the Reader who is clever and the Great

K e l l a r who is not—between Houdini and his imitators—between

"Magic" and " t r i c k s . " I t is the di f ference between the c lever

" M a g i c i a n - a b o u t - T o w n " w h o can " f o o l al l tlie wise o n e s " at close

r a n g e but goes " f l a t " w h e n he at tempts a l a r g e s t a g e — a n d the real

p e r f o r m e r w h o fills the largest stage w i t h his personal i ty whi le per-

forming tricks which the " C l e v e r " magician considers " d e a d " b u t

w h i c h his audiences enthuse over.

This Something is Stagecraft, and Showmanship.

The magician who has learned how to do t r icks—good t r i c k s —

even original t r i c k s ; has learned b u t half of his lesson. I n f a c t ,

less than hal f . H e has learned some t r i c k s b u t not how to present

them to please an audience. H e has learned f r o m w h i c h ex i t to come

upon the stage but not how to carry himself w h e n he is there. H e has

learned some words to say but not how to say them. A n d his voice,

w h i c h a l w a y s seemed to serve him w e l l before , he now finds is w e a k

and squeaky, and will not carry across the footlights.

A n d , ye t , the m a g i c a l student is not to blame f o r this, f o r there

is no one to tell him, even t h a t he l a c k s anything . His " f r i e n d " ,

the t a l k a t i v e " m a g i e i a n - a b o u t - t o w n " k n o w s n o t h i n g of the art of the

stage, of elocution, dramatic ar t and showmanship, dramat ic expression,

control l ing an audience, e f fect ing a c l imax, or c r e a t i n g applaxise at

will . I f he did he would not be a " M a g i c i a n - a b o u t ' t o w n . "

Therefore , in present ing this volume to m y f r i e n d s and to m y

m a g i c a l readers ( w h o I hope b y this t ime are also m y fi-iends), I f e e l

that I m a y be contr ibuting something f o r which there is an a c t u a l

need in magica l l i terature. More than f r o m a n y expectat ion of

financial profit, I have been moved to of fer this w o r k to earnest

students of Magic, with the hope that i t wil l assist them along the w a y

w h i c h I t rave l led b y a more laborious r o a d ; the road of h a r d

experience.

F o r t u n a t e l y , a t a n ear ly period in m y o w n w o r k , I received a

training in Dramatic A r t and Elocut ion (a course which I have fre-

quent ly recommended to others) , b u t i t is a l e n g t h y and expensive

p r o c e d u r e ; and i t w a s in the hope of p l a c i n g a t the disposal of the

magical student as much of this information as possible, along with

that which I have gained in m y own experience, t h a t I prepared this

treatise.

I n spite of the advantages gained f r o m my tra ining i n Dramat ic

A r t and Elocution, supplemented by professional experience; I would

hesitate to a t tempt to impart this k n o w l e d g e to others, w e r e it n o t

that I fee l that eight y e a r s of experience as a m a g i c a l instructor

(probably the only one t e a c h i n g these subjects ) to a l a r g e number of

pupils, has somewhat qualified me to do so i n a manner easily assimila-

ted b y the magica l student. I t is hoped that I m a y reach and assist

in this w a y m a n y w h o are outside the pale of personal instruction.

I n p r e p a r i n g this treatise, which, l ike m y previous w o r k s on

B i l l i a r d B a l l s ; Rope T i e s ; H a n d k e r c h i e f M a g i c and Thimble Tr icks , is

a pioneer on its s u b j e c t ; there has been no previous w o r k f r o m w h i c h

I could d r a w a n y assistance. Therefore , I realize its shortcomings, in

spite of my efforts to incorporate in it as large an amount of results of

practical experience as possible. However, I trust that they wil l not

be greater than those of m y previous w o r k s f o r y o u r generous a p p r o v a l

of w h i c h I here express m y sincerest appreciat ion.

F r a t e r n a l l y yours,

B U R L I N G G I L B E R T G A L T H U L L .

N e w Y o r k Ci ty , M a y 1 5 , 1 9 1 4 .

The State Library of Victoria

" A L M A C O N J U R I N G C O L L E C T I O N "

Dramatic Art and Elocution

E N T R A N C E

The entrance should be made in accordance with the manner or style of presentation which the performer affects. I f the magician performs in a quick, snappy manner, the entrance should be made at a rapid gait . The step should be quick and a little shorter than the ordinary step, in order to throw the action on the toes. A rapid entrance in a step of the usual length gives much the effect of " p o u n d i n g the h e e l s . " This entrance is best made f r o m the side near the back, describing an arc and termin-at ing in a central position before, but not too near the footlights. One of the most surpris ing faults common in some of the best performers who are of sufficient experience to know better, is the habit of standing too close to the footlights, with the result that they are made to appear hideous. This not only gives a bad impression, but throws the mouth in such deep shadoiv that it becomes more difficult to distinguish the per-f o r m e r ' s words.

I f tho magician performs in a leisurely, semi-mysterious manner, the entrance should be of similar style, preceded by a slight pause before entrance and another pause before the address, to heighten the effect. The carriage should be easy and graceful steps of average length, rather inclined toward a modification of what is known as the " E n g l i s h r o l l . " I n this case it is better to appear at the back and walk directly forward.

I f the intention is to present some introductory effect immediately fol lowing the address (and this is generally f a v o r e d ) , it should be some-thing of the pret ty order, quick and flashy, that does not require any preparat ion before the a u d i e n c e — a tr ick employing handkerchiefs, flowers, flags or articles of a similar n a t u r e ; never a sleight or series of sleights.

Some pre fer to make a short address first, but audiences do not p a y a great deal of attention to tho address unless they have something to interest and hold the eye. I f the performer wishes the article for the first experiment to be in sight before his entrance, it is best to have it upon, say, the le f t table, approach from the side or back, passing between the tables, turn fac ing the audience, pick up the article and come forward. A l w a y s face toward the audience before taking up article, for if you walk toward table, pick up article, then turn toward the audience, you give the impression that securing the article was of first importance and the audience of secondary.

C A R R I A G E

Correct carriage, while of importance throughout the entire act, is of the greatest importance in making the entrance. The performer is l ikely to have many t r y i n g details to attend to just before going upon the stage which has a tendency to make him droop his shoulders and lose the

perfect equilibrium necessary to correct carriage. Therefore, I general ly encourage my students to " s e t " themselves before entrance, b y the follow-ing means:

Standing with the feet together, raise the arms straight up over the head, rising on the toes at same t ime; then, without bending the arms, bring them slowly out to the sides level with the shoulders; then down to tbe sides, dropping back till the heels touch the floor. This brings the body into perfect balance, with the shoulders squared, chest thrown out and head tilted back, and causes the performer to feel that feeling of exhilaration which a lways accompanies correct carriage. Most of the weight should be borne on the balls of the feet at all times.

P O S I T I O N

In standing, the proper distance for the feet is f r o m three to five inches apart, regulated to the per former ' s height. B y all means avoid settling the weight on one foot while standing. Care should be taken to stop in the position in which you intend to stand, as this eliminates the necessity of shi f t ing the feet.

C O M M O N F A U L T S

A common faul t wi th performers is that of stooping the shoulders while manipulating, so that the p e r f o r m e r ' s head comes between the hands and the audience, cutt ing off the lat ter 's view. Keep the head well up, arms well extended about level with the shoulders. Do not keep the eyes constantly on the hands. Look at your audience frequent ly and make use of the play of expression.

T U R N I N G

Only about two of each ten performers t u r n correctly in the " c h a n g e over p a l m . " This is probably because their mind is so occupied with the execution of the sleight that they neglect the movement. M a n y , a f t e r showing one hand, swing around on the heel and exhibit the other! Keep the heels off the floor and turn on tho toes. I f fac ing the left, have the left foot s l ightly in advance. W h e n the moment for the change arrives, draw the r ight foot a little f u r t h e r back, raise the heels s l ightly and the turn can be g r a c e f u l l y accomplished on the balls of the feet without effort.

A v o i d t u r n i n g the back squarely upon the audience at all times. W h e n it is necessary to pass f rom a position in f ront to the back of the stage, in order to secure some article f r o m your table, do not turn squarely around and walk a w a y with your back toward the audience. A r r a n g e to have the article on a side table, or, if it must be at the back of the stage, arrange to br ing yourself to a position at the f ront of the stage, but a little to one side, so that your course away f r o m the audience wil l be at an angle. A performer walk ing directly up or down the stage, owing to the arrangement of the stage, creates a grotesque illusion resembling a person climbing a ladder. Therefore, a lways approach the f ront or back at an angle whenever possible. Another illusion common to the stage is that when walk ing directly across the stage at right angles to the audience, the performer's feet frequently appear to be hopping

over each other. A s this is most noticeable when the first step is taken wi th the left foot in walking to the right or with the right foot in walking to the left, this may be avoided by taking the first step with the foot which is furthest from the audience.

E L O C U T I O N

A voice of sufficient depth and clarity, and correct pronunciation, are of the greatest importance to the magician, and if they are not qualities natura l ly possessed, they must be cult ivated before a n y material degree of success in public entertaining may be attained.

THE SECRET OF VOICE POWER

The secret of voice power is correct breathing. Most performers, in breathing, fill only the upper part of the l u n g s — t h a t which is contained in the chest. Singers, lecturers and public speakers employ w h a t is known as abdominal breathing.

- S t a n d i n g in a natural position, fdl the upper lungs so that the chest is expanded. I t will now be found, that by permitt ing the abdomen to expand, considerably more air may be taken in. In abdominal breathing the lower lungs are filled first, and then the upper. This is not only the correct method of breathing from the physical standpoint, but is particu-lar ly necessary fo public speakers or performers, because the increased flow of breath results in greater vocal power. Tn actual practice there is no dist inct interva l between e x p a n d i n g the upper and l o w e r port ions of the lungs, the action b l e n d i n g into one.

P R O N U N C I A T I O N

M a n y who are burdened with indistinct pronunciation are aware of it, but do not know in what direction the f a u l t lies. T h e more simple habit of speaking too r a p i d l y and running the words together, must, of course, be overcome at the start.

The cause of indistinct pronunciation is pr incipal ly in the tongue, l ips and teeth taking the wrong position. Do not let the tongue lie flat against the roof of the mouth, for this gives a sloughing sound to the speech. Do not permit the tip of the tongue to lie between the teeth, for this wi l l give a pecul iar lisp to y o u r words.

T h e proper position for the tongue may be f o u n d b y pronouncing the word "Thou" and retaining the tongue in the last position. T h e t ip of the tongue wil l now be found to not quite touch the lower t e e t h — t h e middle of the tongue being sl ightly hollowed out. I n speaking, keep the l ips slightly parted, draw the corners of the mouth back a l itt le to give the lips perfect freedom. Not only does this lend additional distinctness to the words, but if any of your hearers are unable to catch certain words, the movement of your lips will enable them to distinguish your remarks.

S Y L L A B I C P R O N U N C I A T I O N A N D V O I C E P I T C H

Pronounce all syllables separately and d i s t i n c t l y — d o not r u n them together. A v o i d the abbreviations used in ordinary conversation, such as " d i d n ' t , " " c o u l d n ' t , " " h a v e n ' t , " and so on. Pronounce each syl lable separately. Exper ience wi l l quickly prove that while y o u cannot pro-

nounce the sound " n ' t " strongly, you are able to shout " n o t " with ease. Another common faul t is that of pitching the voice too high, which causes the voice to sound weak and squeaky. The best pitch for the speaking voice is about the same as lower G on the piano. A s a general rule, persons speaking in ordinary conversation employ a pitch much too high for public speaking, so that the student is safe in pitching his voice about two or three notes lower than he ordinarily uses in conversation.

O P E N I N G R E M A R K S

I t is the wri ter ' s personal opinion that the opening address is better le f t out.

The day of the lecturing performer is past. The stage is in too much of a hurry nowadays to listen to introductory preambles. T h e audience comes to see and hear something novel—they desire action above all else. The watchword of the stage to-day is "Do something, do it well, and do it quickly." This does not mean that the performer must h u r r y his act or crowd in too much material by any means. L e t h im work as slowly as he can and retain the attention of his audience and the audience wi l l appreciate him the more. B u t it does mean that he must ivaste no time in preparation before the audience, and no time in useless introduc-tion.

W H A T N O T T O S A Y

However, i f the student desires to use an opening address, the follow-ing are some things that he should a v o i d :

Do not use the famil iar phrases employed b y the boy in the small-time theatres in announcing that he sells a new k ind of peanut candy, such as " T 'anking yer f e r yer k i n ' a-ten-sliun,' ' or its twin brother, ' ' I shall en-dev-er," or " I will now en-dev-er t o . " Do not get off that l itt le joke of F a t h e r A d a m about " s h a p e or f o r m . " Also, you need not men-tion the sleeves. The audience " k n o w that you p u t rabbits, glasses of water, etc., u p them just the s a m e , " but this needn't w o r r y y o u as long as your salary continues.

S O M E S U G G E S T I O N S

I f it is desired to use an introductory address, let it consist of one sentence, slowly, clearly and well spoken, of the fol lowing n a t u r e :

" L a d i e s and G e n t l e m e n : — I request your attention while I present a f e w experiments in M y s t e r i a , " or " I beg to present some experiments in Mystery. F o r the first, let me direct your attention t o " — ( n a m e the article to be used in the first t r i c k ) .

Another form which I have recommended to my students i s : " L a d i e s and G e n t l e m e n : — I am pleased to present my new act, entitled ' M y s t e r y A r t . ' " (Only the reader is requested to substitute his oivn title in place of " M y s t e r y A r t , " which is f u l l y protected by the copyright of the author.)

Be particularly careful to pause after "Ladies" and "Gentlemen." Do not say " L a d i e s a n d g e n t l e m e n l b e g t o , " etc., al l in one word or one breath. Also bear in mind that " L a d i e s and G e n t l e m e n " is not all one word. S a y " L a d i e s " as if addressing a person at the l e f t of the house, and then, turning sl ightly to the right, " G e n t l e m e n , " as if adddressing

an entirely different individual at the other side, making a sl ight pause between the two. Incidentally, it is better, whenever possible, to fix y o u r eyes on some individual or some object about level with your eyes, rather than to look toward your audience blankly, for if you look at your audi-ence blankly you not only appear to have a blank expression to those in front, but in a great many individuals the eyes wil l cross when looking at space. I f the reader will seat himself and look blankly into space for a minute and request some one to notice whether his eyes cross, he wi l l general ly learn that they do.

Returning to the subject of the opening address, I must caution the student not to run his words hurriedly together, which is a common f a u l t of nervous beginners, who commence their address with the words, " L a d e e s - a n - G e n e l m i n . " Another error, but of the drawl ing speaker, is to say "La-dees-zand-Gcn-tul-man." The proper divisions are as follows, spaces indicat ing the length of pause between words : " L a d i e s and Gentle-m e n — I b e g to present m y l a t e s t — " e t c

D R E S S

The matter of appropriate dress for the magical performer is one most f requent ly misunderstood. It appears to be an accepted tradit ion that a magician must in all eases and at all times wear evening dress. No greater mistake could be made, for tbe dress suit being a t ight-fitt ing and rather eccentric form of dress, lias a tendency to set, off prominently any imperfections or irregularit ies of the human form.

T h e man of average height or sl ightly over, who is well proportioned, general ly appears to advantage in evening dress, especially if lie possesses square cut shoulders of f a i r breadth, fu l l chest, medium length of arm and correct carriage. Men with sloping shoulders or hollow chest, long neck, stooping carriage or extreme length of arm, should avoid evening dress, which tends to accentuate these features.

To tbe clean-cut individual , evening dress lends distinction; to m a n y others it gives the appearance of waiters. There is no need to adhere to a form of dress unsuited to the individual, and a neatly tailored suit, cut slightly longer than usual and somewhat form-fitted, wil l give tho wearer a much better appearance. W h i l e evening dress should never be worn in the afternoon by a society or club entertainer, it may be worn at stage matinees and be considered " c o s t u m e . "

T H E B O W

The bow, upon entrance, should be but an inclination of the head, with possibly the slightest inclination of tbe shoulders, as it acts merely as a form of greeting or acknowledgment.

The bow of greatest importance is that made either at the conclusion of the act or upon the conclusion of some picce-de-resistancc. This bow should be made by first bending the back, then the shoulders, and finally, the head. B o w i n g from the waist appears stiff and mechanical. T h e eyes should be kept on the audience and the bow never so low as to prevent tliis, except in the case of the final bow, in which the eyes may be dropped. This bow should be rather elaborately performed, accompanied by the lowering of any article, such as a flag, which may be in the hands at the

t ime; or, if the hands be empty, the lowering of the hands alone, palms

turned sl ightly outward. I t is important that this bow be made quite

slotcly and the return to the upr ight position without haste, so that the

audience may realize that the conclusion has been reached. I t should be

slow enough to grant opportunity f o r applause. The bow in response to a

curtain call, on the other hand, should be short and animated, and

repeated two or three times, but must not be overdone or the effect will be

entirely lost.

A v o i d making a curtain address whenever possible, but if y o u do

speak " b e f o r e the c u r t a i n , " do so f rom the center of the stage, and not

f r o m the side, as so many are inclined to do. This last gives the appearance

of being ready to " d u c k . " On the large stage, of course, it is impractical

to bow off f rom the centre, so it is better to walk to the side and then turn

and bow off.

G E S T U R E

In order to keep the gestures easy and graceful , make them slowly,

avoiding j e r k y movements. Do not shoot the hands out in any direction,

but start the movement at the shoulders, and then bend the elbow, next

the wrist, and open the fingers last. Let the eyes travel in the direction of

the gesture. D o not turn the palm up nor extend the arm to the ful lest

extent at a n y time. (This does not a p p l y to manipulations, where i t may

be necessary to do so.) Remember that yon are not a political speaker.

M A N N E R I S M

A subject for early consideration by the magical student is the man-

nerism or style of personality which he desires to affect while performing.

A s the matters treated in this volume must be largely regulated b y this,

the student should first endeavor to discover not what style of mannerism

appeals to him most, but what style he is best adapted for naturally. The

principal per forming personalities are the Mysterious and the Bri l l iant .

T H E M Y S T E R I O U S

This style should only be adopted b y a man of sufficient stature and

physical proportions to assume the part with advantage. H e must possess

dignity, a voice of sufficient depth and strength, and perfect pronuncia-

tion. His carriage must be erect and dignif ied; his step measured and his

gestures commanding. H e must secure perfect command of his audience

from the moment of entrance, and his manner of entrance should be

designed to assist in gaining that result. Such a performer must be a

man who possesses calm, who is quick to think, who is seldom hurried, and

is not easily disconcerted. I f the student desires to attempt this style he is

recommended to p a y the closest attention to the subjects of Gesture and

Entrance pr incipal ly , but also Voicc Pitch and Pronunciat ion; and, in

fact , every principle of dramatic ar t and elocution. H e has before him

one of the hardest and most exacting types to present successfully. I do

not know whom to advise him to see in order to get an idea of this style of

performance, as there are few performers of the present day who assume

the style. I might suggest the performance of Herbert Brooks, which,

however, is hardly long enough to i l lustrate the t y p e ; or, possibly, m y own

presentation of the act, " M y s t e r y A r t , " f r o m which the student might

glean a f e w suggestions.

DRESS—The style of dress for this act should be dignified in every

detail, tho cut of the clothes inclined to long lines. Avoid extreme cuts or

faddishness.

EFFECTS should be of a large order and capable of presentation with

little lathing. S leight of hand work, if any xised, should be very limited,

and employed with large articles only. Of course, the various invisible

sleights, such as the " P a s s " and the occasional pa lming of articles before

production, is necessary in any case, but by sleight of hand is meant the

deliberate manipulation of articles before the audience. A s this tends to

cause the audience to regard the performer as " c l e v e r , " it is fa ta l to

d igni ty or real mystery.

FEATS which might be attr ibuted to spiritualism, hypnotism or other

pretended scientific means are most effective in this form of act.

SETTINGS should be inclined toward richness in colors, instead of

bril l iance. Deep-toned colors should be employed in the matter of drap-

ings. A p p a r a t u s and stands, etc., should be either massive, or i f of l ight

weight, should be of the skeleton order, p la inly intended to eliminate sus-

picion, and should be of artistic design. Nothing flashy in the nature of

drapings, and nothing flimsy in apparatus should be used. A b o v e all,

avoid tinsel or spangly drapings, and do not have too much apparatus

upon the stage.

T H E B R I L L I A N T

This type requires a man of moderate or small stature, not over-

inclined toward stoutness, but preferably a man of slim build. H e should

be an active man, capable of quick movement and speech, which, however,

should never be so rapid that his audience cannot at all times see and hear

every feature of the performance. H e should possess energy and employ

wit of the sharp and keen order (not dry or droll). l i e shoxdd move about

a good deal dur ing the performance, slightly exaggerating both his ges-

tures and facial expression. Stirring music should be used for entrance

and should be interjected whenever the performer is less active, such as

•when p r e p a r i n g a tr ick, or wl ien p e r f o r m i n g a t r i c k without talking Music should be p l a y e d at these t imes in order to keep u p the exeitemen

of the audience, f o r in an act of this n a t u r e the audience is w o r k e d u j

to a state of constant surprise, l a u g h t e r a n d expectat ion, a n d a s u d d e i

d r o p in the act ion has a most pecul iar depress ing effect u p o n the audience

I t wi l l be noticed t h a t i n a n y p l a y or a c t w h e r e there is m u c h exci tement

as soon as the excitement is over there is a sudden depression fel l

t h r o u g h o u t the audience. I fee l t h a t I cannot b r i n g this f a c t too strongly to the attent ion of the s tudent who expects to a t t e m p t this s ty le of per-

formance. I have a l w a y s f o u n d i t advisable in composing d r a m a t i c p l a y s

or sketches, whenever there is a tense moment of either a pathet ic , t r a g i c

or s t r o n g l y d r a m a t i c n a t u r e , to follow the moment. Avitli a h u m o r o u s

or h u m a n l y - q u a i n t r e m a r k b y one of the characters , which causes a l a u g h

a n d relieves the strain on the audience, enabl ing t h e m to get back their

mental equi l ibr ium. T h e reason for this is that the l a u g h counteracts the

effect of the sudden depression w h i c h is always certain to follow excite-

ment. I n a magica l enterta inment this state of a f fa i rs is less marked, but

present, nevertheless, and f l ic sudden cessation of r a p i d act ion i n order

to p r e p a r e f o r a new t r i ck ]tas much the same effcct as stopping a motion

picture film at an exciting moment in order to change 'the reel.

T h e p e r f o r m e r a t t e m p t i n g this s ty le w i l l be bet ter equipped for his

w o r k if he possess some d r a m a t i c ab i l i ty a n d can employ f a c i a l expression

in order to increase the interest of his audience. B y r e f e r r i n g to the

subjec t of " F a c i a l E x p r e s s i o n , " some examples of the w r i t e r ' s m e a n i n g

can be gained.

DRESS—Such p e r f o r m e r s sometimes w e a r a r ibbon across the shirt

bosom, which, however, is an a n t i q u a t e d f a d , p l a i n l y in imitat ion of the

old-time magicians. I f the p e r f o r m e r desires to af fect something of th is

sort, I suggest the f o l l o w i n g nove l ty , w h i c h I designed f o r t h e p u r p o s e :

A w i d e b a n d of gold r ibbon a r o u n d the arm m i d w a y between elbow a n d

shoulder, on w h i c h is embroidered or sewn the designs of the f o u r c a r d

pips, Clubs, Hearts, Diamonds a n d Spades, a t equal distances a p a r t .

A n o t h e r effective combinat ion is w i t h w h i t e sat in r ibbon i n p lace of the

gold . F r o m the lower edge on the outer side of tbe a r m m a y be sus-

p e n d e d a p e n d a n t in the f o r m of a question mark (?).

SETTINGS should be of a colorful a n d f l a s h y , or s h o w y n a t u r e . T h e

very strongest l ights should be used al l over the stage to set off the

propert ies to a d v a n t a g e and g i v e an effect of dazz l ing bri l l iance. Music

should be of a stirring n a t u r e and should be used at entrance a n d when-

ever p e r f o r m e r is p e r f o r m i n g s i lent ly or m a k i n g p r e p a r a t i o n s f o r a special

tr ick.

TRICKS should be a l ively nature interspersed with humor. Tr icks

with silks, ribbons, flowers, animals, or borrowed articles, such as watches,

handkerchiefs, rings and dollar bills, and a certain amount of sleight of

hand, such as bi l l iard ball manipulation and the handkerchief-ball man-

ipulation, or paper effects, all of which are effective.

E N T R A N C E M Y S T E R I O U S

S o f t music of a dreamy or semi-mysterious nature should be p layed

before the curtain rises and should take on a s l ightly increased beat as

the curta in starts to ascend.

On the other hand a good effect may be gained by the opposite means,

i. c., decreasing the volume of the music as the curtain rises unti l it grad-

ua l ly fades a w a y into silence as the curtain reaches its highest point.

L i g h t should not be used in f u l l brilliance. L i gh t s may be lowered

s l ightly before the curtain rises and then sl ightly increased as curtain

readies f u l l up . A wai t of f r o m three to five seconds at the very most

is enough to give the best effect and is advisable in this form of act.

The best entrance is made f r o m the back. F o r my own work, I

employ triple curtains at the back, which are parted one a f ter the other,

but, as this is too elaborate for general use a single curtain parted at the

back wi th medium rapidi ty , exposing the performer, wil l give a good

effect. I f per forming in lyceum where curtains cannot be drawn back

mechanically the performer may take a position behind the curtain, take

hold of each side of the opening at about waist height, then stepping for-

w a r d and out, he may swing the curtain open and around behind him,

leaving his hands i n the final position, which wil l give much the same

effect as the foregoing. T h e attitude, which is important in this act,

should be wi th body erect, shoulders squared (not overdone), the feet

even and close together and the head tilted back so that the eyes are level

with the balcony. [Looking downward gives one a hangdog appearance,

whereas the object is to achieve a commanding appearance—looking

straight f o r w a r d causes those in the balcony and above to see only the

top of y o u r head.] Looking u p w a r d enables those above to see y o u r

f u l l face and those in orchestra to see your face at the most favorable

angle, f r o m below.

I n either case, a pause of from one to two seconds, holding the same

attitude is advisable. Then the performer may come slowly f o r w a r d

employing a measured tread inclined toward a modification of the " R o l l "

(described under Carr iage) . Reaching f ront center, avoid too closc

approach to foot lights, which shadow and distort the face. A sl ight

pause, fol lowed by a bow, which in this case should he a slow inclination

of the head only, or with possibly the slightest inclination of the shoulde

as well. This bow should not he accompanied by a smile, as this belon]

to a more spright ly mannerism.

THE ADDRESS should be begun in measured tones and continue

unhurried. Do not emphasize your remarks b y nodding the h e a d -

faul t which I f requent ly have to combat in pupi ls attempting this s t y

of work.

GESTURES should only be employed when i t is desired to indicate

certain piece of apparatus at the side of stage, or to direct attention i

some part icular direction. I n this case first turn the head in the dirci

Hon, then gesture with the open hand only, never pointing with th

finger. Start the gesture by br inging the hand u p w a r d in f ront of yoi

about level with the waist, and then, sweeping out toward the l e f t o

r ight as the case may be, starting the movement at the shoulder, the:

bending the elbow, and the last, the wrist. S t a r t al l movements b;

moving the upper arm first, then the forearm. A l l movements should b

in curves, and angles avoided. Do not shoot the hand or arm ou

straight f r o m the shoulder or side. I n per forming in this manner avoi<

all elaborate movements and do not bow toward the object indicate!

by the gesture as in the Bri l l iant .

R A P I D E N T R A N C E

(Suitable for the Br i l l iant type of performance.)

This style of entrance is best started at the side toward the back,

employing short steps, the performer coming f o r w a r d rapidly toward the

center, describing an arc, terminating in a central position in the front,

near the footlights.

F o r this style of entrance, music may be employed as fo l lows:

No. 1. S t i r r i n g music p layed at a rapid beat before or while curtain

rises, continuing f o r a moment af ter , and ending with a crash of cymbals

j u s t as the per former effects his first appearance.

No. 2. Music started just before performer makes his entrance.

Cont inuing in rap id measure as he comes forward and ending with a

crash of cymbals as ho reaches the footlights.

The bow i n this case should be short and quick, practical ly expressing

a greet ing and nothing more, and m a y be accompanied by a smile.

Address should be started immediately a f t e r the bow. Remarks,

while spoken rapid ly , should be all means be clear and distinct, rather

inclined toward sharpness. The performer should then immediately

t u r n and present the opening tr ick which should be of a spectacular

nature, flashy and quick in effect, and must not be a tr ick which requires

preparat ion before the audience. Ef fect ive tricks of this sort are those

employing silks, flags, fire or doves. A f t e r this effect has been " g o t t e n

o v e r , " the audience having been surprised by the suddenness and spec-

tacular nature of this first effort, are therefore in an expectant mood

and having made up their minds not to be deceived again they will watch

the performer closely. Therefore, the performer may well present either

sleight of hand or a tr ick which requires a little preparation, either of

which require close attention on the part of the audience to bring out the

f u l l effect.

THIRD EDITION

200 Illustrations, 35,000 Words Explaining 100 Tricks and Sleights, Beautifully Printed on Enameled Paper. Lizard Skin Finish Cov-ers. Gold Titles, Silk Bound. 2s.2d. and 4s.3d.

izxpn-t H i l l i a r i i f a l l i H a m y i t l a f t i 200 Photographic Reproductions. 1OO Tricks with Balls and Silks.

Clever Startling Mysteriou 100 Tricks and Sleights, Pretty Color Changes, Baffling Transforn ion, Startling Vanishes, Puzzling Productions. Fully Explained i some illustrated, with as many as fourteen photographs each.

The First and Only Expose of the W h o l e Art of Bi ard Ball Manipulation. Contains more Absoluti New Tricks and Sleights Than Any Other Book Sleight Of Hand Ever Published. Cost of illustrating this Volume Alone (Photographs, Art Work & gravings) Would Publish Several Thousand Copies of Any 0| "Dollar" Volume That Has Appeared In The Past Year.

Beautifully Printed on the Finest Quality Enameled Pap Only the Finest Half Tone Illustrations Used. Lizard S! Finish, Art Covers, Gold Title. Silk Cord Bound. Price $ 1 .OO Part One Separately SO cents; Part Two 50

^ c a k f c U l i j s t m p B

Highly Finished "Glace" covers, in Gold, black and red, handsomely bound. Many Illustrations in Half-tone and Line.

The latest card tricks and spirit mysteries (first time e plained) with instructions for constructing all the trick cards special packs, etc.

The very cream of the latest tricks and new inventions gatl ed together and carefully prepared by the author, who has proved the working of each and added something of hisown oq ality, making it the most valuable collection of absolutely i tricks with cards, etc. ever placed between two covers. These tricks do not require sleight of hand.

C O N T A I N I N G

Tho Famous Sealed Letter Tests; The Fly Card; The Card ' ing Tray; The Devil's Pass & Improvements; The Goblin A Monte Cristo Cards; Photo Sprite; Houdins Dream; Cards Ii terious & Improvements; Satan's Secret; Novel Card Discov Electra Trance Card; and Others. SPECIAL O F F E R This volume was originally printed on 100-lb. Enameled Art Paper and sold at One Doll The book has been reprinted on a light weight paper of good grade and contains exactly i same contents. Printed from Electrotypes: Now sold at

Reduced Price Fifty Cents England 2s.2d.

MAGICAL

SHOWMANSHIP Practical Methods of

Controlling and Influencing Audiences and Securing Applause

including

Music for Magical Acts Opening Addresses Stage Fright—Its Cure Opening Tricks Overcoming Stage Nervousness Creating Applause Curtain Handling Concluding Act Encores Affecting Climax

"Bringing Spectator Upon the Stage

and

A List of Hits for Special Occasions

Hanqutts, Conventions, Club and Lodge 'Enter-

tainments, Church, Society and

Children's Programs

C O P Y R I G H T , 1 9 1 4

AMERICAN MAGIC CORPORATION PUBLISHERS

LONG BEACH BUILDING NEW YORK CITY

Contents of Tart One

ff Dramatic A rt and 'Elocution

U N I F O R M W I T H T H I S V O L U M E

MANNER OP EFFECTIVE E N T R A N C E : R a p i d e n t r a n c e — m y s t e r i o i

entrance—where made from and h o w — s u i t i n g entrance to style of pe formance—locat ion of settings in relation to entrance.

CORRECT CARRIAGE: HOW achieved—length of step in relation style of p e r f o r m a n c e — q u i c k method of setting oneself for perfect ca r iage before entrance.

POSITION : W h i l e manipulat ing—posi t ion for feet in t u r n i n g — co rect position in turning for change over p a l m — t i p s f o r walking awa f r o m a u d i e n c e — f o r walking across stage.

TIIE BOW: E n t r a n c e b o w — h o w m a d e — b o w a t conclusion of in portant t r i c k — b o w a t conclusion of a c t — b o w at curta in call.

GESTURES : Forms of gestures—to indicate article or person.

MANNERISMS : P e r f o r m i n g in mysterious m a n n e r — t h e brilliar type of p e r f o r m a n c e — t y p e s of individuals adapted for various styles-how the reader can decide which he is best suited for.

EMPLOYING FACIAL EXPRESSION: Il lusion of stage which make ordinary smile appear a g r i n — c o r r e c t stage smile and how it is employe as a principle of s u g g e s t i o n — d r a m a t i c e x p r e s s i o n — e x a m p l e s of how t employ affected surprise—bewilderment, d isappointment—hearty amuse ment, etc .—to increase the effectiveness of the tricks.

ADVICE ON DRESS: Relation to different styles of performance— when not to wear evening d r e s s — a novelty in magical costume.

ELOCUTIONARY PRINCIPLES: Making the voice c a r r y — s e c r e t o: voice p o w e r — p r o p e r breathing for greater v o l u m e — p r o p e r pitch foi voice in public speaking—secur ing depth.

PRONUNCIATION: Posit ion f o r tongue and lips f o r clearer and sharper pronuncia t ion—what to a v o i d — l i p s aiding audience to distin-guish words—syl labic pronunciat ion—its principles and reasons.

OPENING ADDRESS: W h e n and where a p p r o p r i a t e — w h a t i t should consist o f — f o u r types of opening a d d r e s s — s u g g e s t i o n s — d e t a i l e d ex-amples of incorrect a d d r e s s — d e t a i l e d examples of correct spac ing and del ivery .

PUBLISHER'S FOREWORD

It w a s in 1908 that B u r l i n g Hul l planned the first g r a d u a t e d course of instruction in magical performing, including manipulation, magical mechanics, elocution, dramatic art , and showmanship, to he produced. F r o m this he became known as the only magical instructor in America, a t i t le which he has since adopted in the prospectus of the f o u r courses g iven b y the B u r l i n g H u l l Studio. In permit t ing its use, Mr. H u l l made it p a r t i c u l a r l y understood t h a t the t it le w a s not intended to in a n y w a y ref lect upon the character or w o r k of a n y one w h o desired to teach a f e w pupi ls p r i v a t e l y .

I t is t r u e t h a t most any amateur magic ian, and even some of the small dealers, wi l l occasionally undertake to teach a f e w tricks to a beginner when the opportunity presents. I n much tho same manner most any one connected wi th magic wi l l occasionally sell a magical appl iance to a beginner, or m a y entertain a p a r t y of f r i e n d s with tr icks. B u t selling a f e w tricks does not make a man a dealer; per forming before fr iends or his club members a few times a year does not make a man equally a professional ar t i s t ; and most emphatically, showing a beginner how to work a few tricks once or twice a year docs not constitute even a d e a l e r ; a p e r f o r m e r , or a magica l d e a l e r ; an instructor.

I t is g e n e r a l l y k n o w n to magic ians t h a t B u r l i n g H u l l is the only m a g i c i a n w h o makes a complete w o r k of m a g i c a l instruction conducted on a systematic basis. T h e instruct ion consists of four s tandard courses, t r e a t i n g on f i f teen r e g u l a r subjects , w h i c h are listed and described in detai l in the only pr inted prospectus of its sort. I t is also t r u e that he is the only A m e r i c a n w i t h special equipment f o r this w o r k , a n d a set of 130 charts of h a n d s ( f r o m both pupils and prominent magic ians) of w h i c h he keeps notes and records, and employs in de-termining w h i c h class of w o r k a s tudent is best adapted for before enter ing upon the w o r k .

Before entering upon this work Mr. H u l l devoted considerable study to the subject of instruct ing in magic, to which he has added eight years of pract ical experience in the work.

L o c a t e d in the l a r g e s t c i ty of this country and inc idental ly tho theatrical center of America , his work is not confined to New York , but twice y e a r l y tours are made through Chicago, Boston, Philadelphia, Balt imore, Detroit , P i t tsburgh, Buffalo, A l b a n y and intermediate points in order to instruct pupi ls who have arranged for instruction before-hand.

Now that he has decided to offer through publication within magical circles some of the results of his s tudy and experience i n the work

in the form of condensed treatise on the subject, his wri t ings wil l prob bly find appreciation with many magical students unable to secu: personal instruction.

Numbers of the series to follow the present volume a r e :

B U S I N E S S E N D O F M A G I C

or

M A K I N G M A G I C P A Y .

MAGIC FOR PROFESSIONAL PURPOSES : O n t h e s t a g e — t h e L y c e u m -

the society and club field—the semi-professional field.

PREPARATION OF ADVERTISING : Sample herald announcements-press sheets f o r different styles of w o r k — s e c u r i n g t ryouts—systems c booking—securing contracts—arranging expenses—packing, shippin and transferr ing propert ies—bi l l ing the a c t — s e c u r i n g press notices an free adver t i s ing—spec i fy ing the curtains and scenes required for Magics A c t s — e v e r y detai l of theatr ica l business.

M A N I P U L A T I V E A R T

T h e first pract ica l analys is of s le ight of hand, expla in ing in detai the exact operations of subt le ty in a n y f o r m of m a n i p u l a t i o n — i l lustrated w i t h 136 photographs showing the positions and movement; f o r the h a n d s and a r m s ; h o w to achieve grace in m a n u a l movement whi le manipulat ing, and also s h o w i n g w r o n g a n d a w k a r d p o s i t i o n s -methods of m i s d i r e c t i o n — c o v e r w o r k — m o t i o n i l lus ion—concentrat ion

M A G I C A L M E C H A N I C S O F S T A G E I L L U S I A

M a g i c a l m e c h a n i c s — t h e mechanica l pr inc ip les on w h i c h magiea apparatus and stage illusions and scenic effects are o p e r a t e d — p r i n c i p b of delusion—control l ing imagination.

ILLUSION: T h e use of b a c k g r o u n d , use of decept ive angles anc l a p s — p r i n c i p l e of color i l l u s i o n — a n d i ts appl icat ion to m i s d i r e c t i o n -illusion of t ime—i l lus ion of d u p l i c a t i o n — o f p e r s p e c t i v e — a r r a n g e m e n t of l ights, etc.

R O A D C R A F T O R C O N D U C T I N G A N A C T E N T O U R

S t a g e c r a f t — m a k i n g l a y o u t f o r a p p a r a t u s — f i n d i n g angles to avoid exposure to boxes and g a l l e r y — g r o u p i n g apparatus ar t i s t i ca l ly—hanging of curtains and propert ies—working " i n o n e " and " f u l l s t a g e " handling l ights—effect of l ights on co lors—arranging music—rehears ing act.

THE PUBLISHER.

Magical Showmanship

S T A G E - F R I G H T V S . S T A G E N E R V O U S N E S S

I n the matter of stage-fright, like many other performers who became fami l iar with entertaining at too tender an age to realize what the fear of large audiences meant, I have never experienced the sensa-tion; but hav ing witnessed its ravages on many of my pupils, I think [ can suggest a means of avoiding it.

I n the matter of stage nervousness, however, a difficulty to which 3vcn the most seasoned performers are subject, I can speak from expe-rience. There arc so m a n y things that can go wrong with a magical let ; an accident causcd b y stage hands who do not understand the requirements of magical work, so common that the performer frequently reaches a h ighly nervous state just before doing upon the stage. Stage-Fright, on tbe other hand, docs not attack the performer until he is ic tual ly upon the stage and about to speak, whereupon his mind suddenly :>ecomes a blank, ho loses tbe power of speech and seems unable to move from the spot. There is l ittle doubt that it is real ly a state of auto-lij'pnosis, causcd b y the strong lights and the peculiar appearance of the ludiencc, of which only a row of faces against a black background can jo seen, M y advice to pupils in cases where I think stage f r i g h t l ikely :o occur is as fo l lows:

"Go out upon the stage and fix your eyes upon some one near the rront; make your address to this person and in fact give your entire per-formance to this individual as if there ivere no one else in the theatre, ind manage to forget that there is any one else present . " P u p i l s who lave been subject to stage-fr ight report that b y following this plan they lave been able to relieve themselves of all susceptibility to the condition.

S tage nervousness, which attacks the performer before going upon he stage general ly leaves the experienced performer shortly a f t e r his

vppearancc before the audience, or fol lowing the first applause. "While ess dangerous to the success of the act, is still quite likely to interfere seriously with the per former ' s work. I have seen experienced per-formers, who, when they fe l t this condition coming upon them, would, )y an effort of the will , throw off all thoughts of their act for a few minutes and joke with anybody who happened to be near, skipping ibout and cutt ing u p like a school-boy. W h e n the moment arrived For their appearance on the stage they would stroll over to the wings ,vith exaggerated disregard for time, meanwhile humming a t u n e — t h e n suddenly straighten u p and make their appearance before the audience in the usual manner, before they again had time to worry about the result of the entertainment.

Foolish as this sort of thing may appear to the layman, i t generall succeeds in rel ieving the nervous strain, which would otherwise cause th fa i lure of the entire act.

F o r m y own part , I avoid attacks of stage nervousness by absolutel refusing to be hurried in setting m y act. Serious as a wait may be, it i forgotten and forgiven by the management in time if the per former i one who, when he goes out, a lways " m a k e s good wi th his audience " -but an act that falls down is remembered f o r e v e r ; it is something tha sticks in the agent 's and manager 's memory f o r l i fe.

M Y S T E R I O U S M U S I C

In response to m a n y requests f r o m readers to suggest suitable music for m a g i c a l per formances , I of fer the f o l l o w i n g :

" T h e M a g i c i a n s ' M a r c h , " published b y M. M. W h i t m a r k and Sons, N e w Y o r k Ci ty . Select ions f r o m " B a r o n T r e n c k , " publ ished by R e m i c k (Composer, F e l i x A l b i n i ) . Myst ic , " S o u s la F e u l l e e . " " T h e D r e a m of the R a r e b i t F i e n d . " " O n c c upon a T i m e . " " W i l d C h e r r i e s . " ( R e m i c k ) .

The student wi l l do w e l l to purchase a copy of W h i t m a r k ' s Incidental Music, w h i c h contains selections of music suitable f o r most a n y purpose desired. The price of a copy, I th ink, is $1.00, b u t the reader is advised to communicate w i t h M. W h i t m a r k and Sons, of W e s t 37th Street , N e w Y o r k C i t y , b e f o r e ordering.

The publishers of some of the above pieces h a v e passed m y memory, b u t C a r l F i s c h e r of N e w Y o r k C i t y can supply most a n y of the pieces, f o r the correspondent or can i n f o r m him w h e r e t h e y c a n be obtained

F o r appl icat ion of above music see " E n t r a n c e " and " M a n n e r i s m s " " T h e B r i l l i a n t " and " T h e M y s t e r i o u s . "

O P E N I N G T R I C K

The success or fa i lure of an act sometimes depends largely upon the opening trick. A strong opening tr ick makes the p e r f o r m e r ' s work one hundred per cent, easier, for his audience is won f r o m the start.

A merely "good" t r ick will not do at all f o r the opening trick. It; must be something spectacular, requir ing no preparation before the audi-ence, must be quickly over with and in the nature of a surprise. I t should be a tr ick which can be appreciated entirely without any thought or close attention on the part of the audience.

E X A M P L E S O F O P E N I N G T R I C K S

Production of ribbons, handkerchiefs, flowers, or any other colorful j articles. i

Three silks, Red, W h i t e and Blue, changed to a large f l a g ; flag thrown over arm and bowl of fire produced therefrom. Cover placed over fire-bowl to extinguish flames and on removing, bowl is f o u n d to be filled with flowers.

Tricks of the foregoing nature start the performance with a bang, nabling the performer (to use a popular phrase) , to " g e t the j u m p " of lis audience. I cannot impress upon the student too strongly the im-portance of using a strong opening trick, for the time of a vaudevil le act s so short that he has no time to work his audience up gradual ly to an ippreciation of his work. H e must produce a good impression, present i good entertainment, and secure laughter and applause several times and hen effect his final climax, all within a space of from twelve, to eighteen ninutcs before the footlights.

The importance of a strong opening trick applies in just the same legree to the L y c e u m performer. Tho L y c e u m audience is one which s hard to win attention from at the beginning of the performance. The spectators are more or less acquainted with each other and will be found :onversing freely before and while the curtain rises. A t the same time, i considerable percentage of the audience arrives late and crcates a dis-urbance, which draws the attention of the spectators from the stage. Hie usual opening trick is hardly strong enough for this sort of audience. During my first season before audiences of tliis sort, a f ter being used :o the more orderly stage audiences, I could not become used to having ;he attention of only part of my audience at the opening of my entertain-ment, a feature which most L y c e u m entertainers are forced to put, up with. S t u d y i n g the situation over, I f inally decided that if spectacular magic w o u l d n o t draw concerted attention at the beginning, sound would. I therefore designed the fo l lowing:

A s the curtain started to rise the loud r inging of an alarm clock was to be heard. I came forward to make my address, but as the r inging continued, I appeared annoyed, then looked about, finally spying the 3ause of the trouble, an alarm clock standing on a small stand at the side of the stage. This I covered with a large handkerchief and, p lacing it, still r inging, upon a t r a y held by my assistant, I took aim at the clock with a pistol and fired, whereupon the cloth collapsed and the r inging there ceased, but immediately began at the other side of the stage. Glancing in that direction the clock was seen to have returned to the stand, r i n g i n g as loudly as ever. [Explanat ion of the trick below.] This feature, the unusual ringing of an alarm clock, never failed to create curiosity, which immediately brought all eyes upon the stage, and held them there f r o m the first.

Therefore, I should say that i f it is convenient to do so the performer will do well to use a tr ick which is not only spectacular, but noisy, for his opening before an audience of this sort.

I n case my readers may wish to know the secret of my clock trick, I give the explanation here.

EXPLANATION—The bell-ringing apparatus is really within the tray, which at first lies upon the table or stand with the original clock, which is a hollow dummy, and from which the sound appears to come. A bellows clock-form, which wi l l fold into the top of the tray is raised

therefrom b y the assistant, who moves a lever at the bottom of the tr as I apparently place the clock on the t r a y and cover it wi th a cloth. T cloth fal ls over the bellows form, while the dummy clock, by means a hook on its edge is h u n g on the assistant 's back. A s I fire the revolv* the assistant removes the finger f r o m the lever under the tray , whereupi the form collapses and the assistant places his finger against the b< r inging apparatus, causing i t to stop instantly. The second clock tel scopes to one-half its natural thickness and the bell at the top liing backwards. I n this condition the whole thing folds down flat on to tl table top, in which a t rap is cut to fit it and is hinged to the table with spring hinge, which causes it to fly to an u p r i g h t position when release f r o m a catch in the table. The second bel l -r inging a p p a r a t u s is in thi telescopic clock, but the clapper cannot move unti l the bell is turne to a horizontal position by the expansion of the telescopic halves of th clock, which are forced apart by three springs f r o m the inside.

S E C U R I N G A P P L A U S E

The art of inducing the audience to applaud at points where it woulc not otherwise do so, even though well pleased with the feature in hand, is an art which makes f o r success i n magical entertainments. I t is one ol the most important acquirements that the professional performer can have, f o r professional success depends largely upon the amount ol applause which an aet receives. One of the greatest disadvantages of a magical act is that i t rarely secures applause f r o m an audience dur ing its course, owing to the f a c t that the audience becomes so engrossed in the mystery and bewilderment of the entertainment that it forgets to applaud until the act is over. Therefore, it is necessary to arrange the program so that it wi l l not be one continuous, unbroken period of mystery, but a series of bouquets of magic, each consisting of several l itt le tr icks with a large feature at the end of each series.

E a c h such set of tricks should reach a sort of c l imax at the end, the final tr ick in each case being either something surprisingly speotacidar or unusual ly funny, either of which has an awakening effect upon the audience and causes i t to applaud.

C R E A T I N G A P P L A U S E

I n order to increase the number of tirfies which the audience applauds or to distribute the applause throughout the act, the performer may resort to forc ing applause.This m a y be accomplished b y dramatic pre-sentation of the tricks, or by concluding certain tricks in a dramatic manner. F o r example, I wil l consider a method of forc ing applause f rom a L y c e u m audience. F o r this example I wil l take a fami l iar tr ick and show how I would achieve the desired result when p l a y i n g before a f ra-ternal convention or L y c e u m audience (though neither the trick nor the method is exactly suitable for stage use) . I n the D y e i n g Handker-chief Trick, which I per form with six large silks measuring 32 inches square (probably the largest ever used) , I push all the silks into a 14-inch long paper tube. Then, walking down among the spectators, I d r a w out

the silks which have now changed color, one at a time, handing them to spectators as I go along the aisle. A s the last is handed out I stop and unrol l the tube (with appropriate remarks) then tear the paper in hal f , not oncc, but again and again, unti l the pieces are reduced almost to confetti . W h i l e tearing the paper into pieces, the audicncc has time to turn the trick over in its mind and get ready to applaud. I then toss these pieces in the air, which shoot out like a miniature snowstorm. This dramatic gesture icakcs up the audience, letting it know I have finished, and starts applause which continues as I walk back to the stage.

A n o t h e r means of gaining the same result without tearing up the paper is to gather the silks and swinging them over the shoulder, wa lk rapidly back to the stage with the silks streaming out behind. The effect of the vari-colored silks fluttering out behind the performer as he is going rapidly down the aisle, has a certain psychological effect upon the audi-ence, and when he reaches the stage, wheels about and bows with a manner which plainly says, " A l l these beaut i ful colors from n o t h i n g — how did you like i t ? " causes them to applaud with vigor.

The reader has probably seen an actor give a dramatic command to " S t o p ! " H e does not merely say " S t o p , " but takes a step forward, throws up his r ight hand and pronounces the word. The gesture is nine-tcnths of the command, f rom the dramatic standpoint.

I n producing a selected card f rom a pack or from a spectator's pocket, do not hold the card down or on a level with the waist, lint swing it out toward the audienee with a somewhat dramatic gesture, accom-panied by an expression, which plainly says, "Am I rightt" T h e fact that y o u have thus p u t a question in pantomime and are awaiting their decision, wi l l a lways provoke a response, which response natural ly takes the form of applause.

B y the use of appropriate dramatic gestures in tricks of skill, and by means of s l ightly exaggerated display of the articles produced in pro-duction tricks, the performer may create applause ivliere he desires it instead of taking it when he can get it.

P U L L I N G A P P L A U S E

A t points where y o u usual ly receive applause, a lways pause long enough to allow the audience an opportunity to applaud you, and if they fail to respond at the proper time the applause may be encouraged by holding the final position and making a slow boiv. This is of considerable importance because if the audience is slow to respond at one point and the matter is permitted to go by, it is almost certain to fai l to respond at yther points ; whereas, if it is induced to applaud at the start, when once started i t wi l l continue to applaud at the usual points.

I N T E R R U P T I N G A P P L A U S E

Never interrupt applause or laughter of the audience, by hastening )n to the next trick. I f the audience starts to applaud just as you have passed on to the next trick, pause and wait a minute, drawing it out as

mucli as possible. This should be done, not only because of the eff that applause has upon the management or even the peculiar fact tl the audience wil l better remember a performer whom they applaud, 1. because the audience takes a genuine pleasure in applauding. Int r u p t i n g applause causes the audience to think that y o u have little rega for its op in ion—a condition which they are quick to resent. A certs well-known humorous magician, who was in the habit of receiving u limited applause, made the mistake of remarking on one occasion at a Ni Y o r k Theatre, " S a v e your applause f o r the D i v i n g A c t " (which w billed to fo l low) . The audience took him at his word, and though presented the B i l l and Lemon trick, wi th which he had never fai led provoke storms of laughter and applause, his work on this occasion w greeted with silence for the remainder of the act.

I N V I T I N G A S P E C T A T O R U P O N T H E S T A G E

Great pains should be taken to avoid the embarrassment sometimi caused b y the audience re fus ing to respond to y o u r invitation to come u on the stage for the purpose of examining some article, or assisting y o u i some trick, as the case may be. Not only is it extremely t r y i n g to tl performer but there is almost ccrtain to be some one present to laug at the p e r f o r m e r ' s predicament and cause him to lose command of h audience. A l w a y s arrange such experiments so that they can, if nece.1

sary, bo successfully performed without assistance. I f tbe audience doe not immediately comply with y o u r request, employ some ruse to indue them to respond or else immediately proceed without their assistance.

R U S E T O G E T S P E C T A T O R U P O N T H E S T A G E

The fo l lowing is one means I have f requent ly employed to brinf a spectator upon the stage to assist me in the " C a r d f r o m Pocket Tr ick . ' I begin as fo l lows: ' ' Now, I shall require the assistance of some gentle man f r o m the audience to hold this pack of cards for me [looking towarc spectators in f ront row.] W o n ' t you assist me, s ir? [gesturing towarc some y o u n g men who look promising] . Yes , y o u are the gentleman ] mean. [Motion toward run-down.] Yes, come r ight up these steps here [extending one hand as i f to help him u p the steps].

The foregoing, which is almost certain to br ing response, having fai led in this case because of a previous performer having made sport oj a spectator in inducing him to come upon the s t a g e — I do not hesitate for an instant but immediately continue.

[Raising hand, pa lm outward.] " J u s t a minute, s i r ! H o l d your seat, p l e a s e . " [No one have moved at a l l ; but the audience is not aivare of this.] [Looking u p toward audience.] " I t has just occurred to me that i t would perhaps be more interesting i f I per form this experiment right down among the audience. Yes, I ' l l come right down there." [Walk ing down run-down, and extending the pack toward a spectator.]

" A n d still we wi l l have the gentleman hold the pack just the same. [As he takes pack I retain my hold on pack with one hand and take hold of his forearm wi th the other and raise his hand high above his head.] " J u s t hold it u p that way for a minute so that every one can see that you real ly have the p a c k . " [Looking about towards back of audience.] " S o m e of those people at the back are standing up to see y o u — d o you mind standing up for a moment, p l e a s e ? " [He does so, and turning to audience.] "This is the gentleman who has the p a c k — ( s t e p out into the aisle a minute, please, sir.) [Drawing him out into the aisle, I manage to get in between him and his seat, remarking with a smile] " N o w , as long as we are so far, we might just as well go right up on the stage."

The spectator, of course, goes up on the stage and the audience, by this time, real izing the ruse and considering it a good joke on the spec-tator, greets our march up to the stage with laughter and applause. A r r i v i n g there, we turn about to the audicnee and I remark, " N o w that I have permitted this gentleman who insisted upon going on the stage, to g r a t i f y his ambition, we wil l procccd with the exper iment . " [Turning to victim.] " N o w , that we are both "Actors," wil l you place this pack in your pocket ? T h a n k y o u ! ' '

W h i l e I might give other ruses designed to accomplish this result, I feel that the reader can adapt this method to fit most any circum-stance be may meet with.

C U R T A I N A T C O N C L U S I O N

I n pract ical ly all magical acts the bulk of the applause fal ls on tbe conclusion of the act, to a greater extent than is true of most any other f o r m of entertainment. Therefore it is an advantage to prolong this final applause whenever possible. I n the case of an illusion in which a sort of tableau may be formed, or in which the attitudes are retained unti l the curta in is dropped i t wi l l be found that by raising the curtain just before the " t o u c h , " at the same time breaking the attitude and bowing d u r i n g the final lowering of the curtain, the applause will not only be prolonged but increased in volume. Many performers cut the applause short b y h a v i n g the curta in lowered too quickly and many times the curtain is down before the audience realizes that the act is over. They then turn to their programs to anticipate the next act and their applause is lost. A slow lowering of the curtain enables the audience to realize that y o u have finished and gives opportunity to voice its opinion. " A n d this is an a d v a n t a g e — g r a n t e d it be complimentary.

E N C O R E

T h e stage magician is seldom troubled with the necessity of grant ing encores b u t the L y c e u m or club entertainer wil l do well to provide himself with suitable material for this purpose. Encores should be short and unelaborate. I t may consist of (a) a small effect of an impromptu nature with a f u n n y or unexpected ending.

(b) A humorous trick terminating with a joke, either upon a membi - of audience or the orchestra l e a d e r — o r i t may be a tr ick which leads tl

audience to believe that they have discovered the tr ick unti l the performc turns the tables on them, by showing that he does not use the method the t h i n k ; whereupon he may walk off, shaking his head.

(c) A humorous burlesque explanation of a tr ick performed earlie in the act, or a burlesque of spiritualism.

In presenting an ENCORE you are really attempting a SECOND CLI

MAX. Therefore, be extremely c a r e f u l not to present either a big triel which wi l l detract f rom the effect of y o u r legitimate finale, or on tin other hand a moderate size tr ick with an ordinary ending, which must bt avoided under all conditions. W h a t e v e r the trick is it must affect s CLIMAX; not a large climax, but a humorous or unexpected climax, which leaves your audience laughing and applauding as y o u walk off.

E x a m p l e s of this sort are :

No. 1 . B r i n g i n g a stage hand out on the stage and introducing him as " t h e great Madame So-and-So; then bl indfolding him and g iv ing a burlesque on the Thought Transference A c t .

No. 2. A f t e r expressing your thanks y o u remark that as the audi-ence showed part icular interest in a certain tr ick in y o u r act, y o u have decided to show your appreciation of their applause by explaining its working to them. Then give a burlesque explanation of the triek.

No. 3. Coming out to present an encore you are interrupted by the orchestra leader, an altercation ensues and he finally challenges you to fool him, saying that he has seen y o u r act all week and he knows how to do every one of your tricks, or, he has bought a book which " s h o w s how al l the tricks are d o n e . "

P e r f o r m e r : " I t must be a good book. ' '

L e a d e r : ' ' Yes, I paid ten cents for i t . ' '

P e r f o r m e r : ' ' W h a t is the name of the book ? ' '

L e a d e r : ' ' H o w to be a M a g i c i a n . ' '

P e r f o r m e r : " I t must be good! H o w to be a Magic ian for ten c e n t s . "

Per former may now accept the challenge and present something which ends with a " c a t c h " at the leader 's expense.

F A C I A L E X P R E S S I O N

Do not be a f r a i d to smile wi th your audience, and some times before, which acts as a suggestion. However, the smile itself is quite an important matter. M a n y people, who believe they are smiling, are real ly grinning— especially when the smile is forced as in performing. The ordinary smile, upon the stage would appear as a grin, because the arrangement of the stage l ights tends to shorten and shadow the separation of the lips. Therefore, the stage smile should be expressed by drawing the lips iveil apart so as to shoiv the teeth plainly.

If possible the performer should acquire a certain amount of dra-aatic ability in facial expression, by means of which he can carry the nterest of his audience along with him, by affecting at times, surprise, muscment, disappointment, etc., in the execution of the various tricks, "he following are some examples:

SURPRISE—When an article has vanished.

BEWILDERMENT—When searching about for it in the air (prelimi-iary to catching it f rom the a ir) .

AMUSEMENT AND SATISFACTION—At finding i t " r i g h t t h e r e , " o r ; r i g h t under the vest , ' ' or with an expression which plainly says, ' ' Well, rell. Now, w a s n ' t that simple af ter all? I t was right there all the i m e ! "

DISAPPOINTMENT OR CHAGRIN—When a trick apparently fails to work r when a borrowed article is apparently damaged through accident.

HEARTY AMUSEMENT—When a trick results in a joke at a spectator's X p e n s e — o r at the expense of the performer, who joins in the laugh on imsclf , thereby encouraging more laughter.

Also, when tel l ing a story or joke pertaining to the trick in hand The performer should never tell a joke not directly associated with the rick he is performing] ho may effectively assume the voice and ex-iression of the character he is quoting or describing.

P R O G R A M S F O R S P E C I A L O C C A S I O N S

The fol lowing lists of tricks are not programs, but the first p a r a g r a under the caption gives the style of tr icks f r o m which to compose t program, while below is a list f r o m which two or three items may selected and worked u p as " h i t s . "

F R A T E R N A L A N D B U S I N E S S C O N V E N T I O N S

The most acceptable tricks for the k ind of audience f o u n d , a t the entertainments are of the class f r o m which the fol lowing are select©

1. DE KOLTA, production of miniature p a p e r flags on which a: pr inted the emblem or initials of the association.

2. Production of large flag bearing the emblem of the associatio 3. Sp ir i t slate wri t ing trick. 4. Produc ing a message pertaining to the occasion, or a joke at tl

expense of a prominent member. 5. Tear ing paper designs bear ing the title of the association. 6. Tr icks with borrowed articles. Ar t ic les borrowed f r o m prom

nent person caused to appear in box or large envelope previously su: pendcd in a conspicuous place in banquet or reception hall.

7. Te legram delivered to prominent member by uni formed mef senger just as he is about to select a card. P e r f o r m e r insists upon part; choosing his card before opening envelope, becoming quite a n g r y abou it. C a r d selected, envelope opened and te legram f o u n d to bear the nam of card selected (using " B - H Cards M y s t e r i o u s " ; also known a " S v e n g a l i W o n d e r " and " C a p t . K i d Treasure D e c k " ) .

8. Similar effect with spirit letter reading. 9. Selected or torn card f o u n d i n a c igar smoked b y a prominen

member. 10. Limited amount of manipulat ion wi th large articles easily seen,

L a r g e tricks of a spectacular or spiritualistic effect.

C H I L D R E N ' S E N T E R T A I N M E N T S

1. Tr icks wi th F lowers and Animals . Animals , such as rabbits, guinea pigs, etc., may be purchased for the occasion to better advantage than i f kept b y the performer, and at the end of entertainment m a y be given to a popular child, either on a lottery system or b y vote. j

2. Humorous tricks performed with one of the youngsters brought upon the stage to assist the performer.

3. Production tricks fol lowed b y distribution of bonbons, candies, favors, or cards bearing the p e r f o r m e r ' s picture.

4. H a t production. 5. Ribbon and F l a g Production.

C H U R C H E N T E R T A I N M E N T S

F o r this style of entertainment the same order of tr icks as find favor j in Chi ldren 's Entertainments, as chi ldren f o r m a large p a r t of such; audiences. !

1. Old-fashioned t r i c k s — h a t production—omelette or cake in hat —rabbit pan, and restored handkerchief .

2. Sun-and-Moon Tr ick . 3. F l o w e r production and similar effects. 4. Humorous tricks. 5. Coffee and Milk trick. 6. Tr icks wi th borrowed watches and rings. A v o i d all card tricks and all tr icks of a scientific nature, such as the

dock dial, mind reading, phenomena, and other feats that require much thought to appreciate.

P R I V A T E E N T E R T A I N M E N T S

1. Spir i tual is t Feats . 2. Mind Reading. 3. S p i r i t letter tests. 4. S late wri t ing . (This tr ick probably surpasses all others for

effective results before this style of audience.) 5. Thimble Manipulat ion. 6. C a r d tricks, of a sort where several persons may select cards. 7. P a p e r Tearing. 8. L imited amount of B i l l iard B a l l manipulation. S imple tr icks of mind reading or pretended scientific nature will be

accepted readi ly . T h e pre-arranged deck used to produce mind reading effects wi l l prove a ' ' h i t , ' ' and the per former ' s pretended scientific explan-ation of a n y effect of this nature, which he desires to offer, wil l be ' ' swal lowed ' ' wi thout hesitation.

C L U B A N D L O D G E E N T E R T A I N M E N T S

This style of audience is the most critical to be found anywhere. The tricks presented must be up-to-date, well performed and on new princi-ples, in order to find f a v o r wi th a high class audience of this sort, com-posed large ly of theatre-goers, though the smaller lodges, having an audience of more l imited intelligence, wil l not require as high grade of entertainment.

U P T O - D A T E T R I C K S

1. B i l l i a r d B a l l Manipulation. 2. S p i r i t Bel l . 3. N e w and GOOD C a r d Tricks, performed in a sprightly manner.

(Card tricks, which drag, or have little action wi l l not hold attention.) 4. Cigar Manipulation. 5. Handcuf f and Chain Escape, or Escape from Inside B a g or

Box, as a concluding effect. 6. S late-writ ing wi th Humorous Message. 7. Handkerchie f P r o d u c i n g and Vanishing Box. 8. Tr icks terminat ing wi th a joke at expense of a fellow member. 9. P a p e r Tear ing . A l s o most a n y tr ick listed under the heading of Tricks for Con-

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