On Performing Magic Tricks

There is nothing difficult about performing magic, as skill is not the primary factor involved.

The object of the magician is to mystify and this is best done by applying subtle methods which are thoroughly elucidated in this site.

In fact, some of the simplest tricks are the best, provided of course that proper measures are taken to conceal that very simplicity.

As a result, presentation is a highly important factor.

Every trick should be presented as though it were a great mystery and this in itself is half the fun of performing magic.

Certain rules are very valuable as they are practicable with almost all tricks.

One good rule is never to tell your audience what you intend to do before you do it.

Not anticipating the result, they are unable to catch any advance clues to the climax, which will come as a great and effective surprise.

Similarly, it is unwise to perform the same trick twice on one occasion.

Obviously, to repeat a trick when performing magic is to give advance knowledge of the climax.

Here, however, the magician has an excellent surprise weapon at his/her command.

There are many tricks which appear alike, but are actually dependent upon different methods and sometimes produce an unexpected conclusion.

Thus in responce to the request of "do it again" the magician can often switch to another trick that will seem to be a repetition but will actually provide a new mystery.

Above all, do not explain a trick after you have done it.

That simply breaks down the mystery and causes people to lose interest in your magic.

The best policy is to proceed with another trick, because when people want to know how a trick is done, it proves they are in a mood to be further mystified.

Of course there are certain tricks, more in the puzzle class than strictly magic, which can occasionally be divulged to inquisitive spectators.

A considerable number of these are included in this volume and will be easily recognized as such when the reader comes across them.

Certain tricks are appropriate for certain occasions and the best way to ascertain this is by experiment with the tricks themselves.

Therefore the performer should study the effect of each trick upon his audience in order to learn which is the most effective.

Results vary with the performer as well as with the audience, hence there are two rules to cover this.

One is, you should like a trick before you try to do it.

The other rule is to make sure that it is the sort of trick that your particular audience will like.

This again merely emphasizes the importance of observing audience reactions to your magic.

Your talk or "patter" is important and should be rehearsed along with the method of a trick.

This is something which depends a great deal upon the individual, particularly where small magic is concerned.

To a degree, your style should be strictly natural, since you are performing impromptu magic.

Nevertheless, there is often an opportunity to build up interest by attributing your tricks to some phenomenal ability which you have acquired.

This again is a matter of experience, plus observation of audience reactions.

Suggestions for patter are given with some of the tricks in this book and will serve as guides to others, but in most instances it will be found that the line of talk will develop along with the trick itself.

This is much better than attempting to memorize and rehearse an artificial speech which may not be suited to your own particular style of presentation.

I hope the above pointers help you in performing magic before your audience.