Documents 

This timeless material finally gets the treatment it deserves! The greatest collection of close-up tricks ever assembled between two covers, and Volume 1 has no card tricks included. Volume One's opening chapter, The Presentation of Close-Up Magic, embraces the whole approach to close-up performance. Hundreds of original illustrations by Dennis Patten. Volume Two features Phoa Yan Tiong's fantastic Cut and Restored Silk, Al Spackman's eerie and very baffling Miniature Rapping Hand, Rink's fabulous acrobatic Paper Clips and One Cup, Two Balls, Horace Bennett's Dissimilar Coin Thru Table, Bobby Bernard's terrific coin routine, Melted and Mirage, Jens Korth's brilliant Gambling Routine with Poker Chips, Lewis Ganson's tribute to Dai Vernon - Three Rings for Vernon. Hardbound, printed on acid-free paper, matching endsheets. [editor summary]

This timeless material finally gets the treatment it deserves! The greatest collection of close-up tricks ever assembled between two covers, and Volume 1 has no card tricks included. Volume One's opening chapter, The Presentation of Close-Up Magic, embraces the whole approach to close-up performance. Hundreds of original illustrations by Dennis Patten. Volume Two features Phoa Yan Tiong's fantastic Cut and Restored Silk, Al Spackman's eerie and very baffling Miniature Rapping Hand, Rink's fabulous acrobatic Paper Clips and One Cup, Two Balls, Horace Bennett's Dissimilar Coin Thru Table, Bobby Bernard's terrific coin routine, Melted and Mirage, Jens Korth's brilliant Gambling Routine with Poker Chips, Lewis Ganson's tribute to Dai Vernon - Three Rings for Vernon. Hardbound, printed on acid-free paper, matching endsheets. [editor summary]

Edward Victor was one of the greatest magicians who ever lived, who affected the work of almost every close-up magician working today. Dai Vernon and Ed Marlo, among many others, owed a major debt to the work of Edward Victor. His creations include the famous Eleven-Card Trick, which inspired Vernon's Spellbound and Coins and Champagne Glass. Victor's sleights inspired Tilt, Convincing Control and many others.

Edward Victor's story and magic are fascinating. This enormous book brings together a fascinating collection of magic and biography. It contains most of Edward Victor's many tricks that he contributed to periodicals and other books, his marketed items as well as unpublished routines from his private notebooks. It traces the story of his life with many unique photographs and other bits of memorabilia that recall the glory of a golden age. There is even a chapter on his Shadowgraphy.

This magic volume series was originally designed as a correspondence course for budding magicians. Once they were collected and bound, the series has become an unparalleled reference standard for magicians. In its impact on the magic world, it is second perhaps in its influence on the art of magic only to Hoffman's Modern Magic, and many professional magicians have based their careers on the Tarbell Course.

The entire collection comprises more than one-hundred lessons in every aspect of magic including micromagic/close-up magic, escapology, mentalism and stage illusions. It is the most comprehensive literary work in magic history. The original five volumes contained sixty correspondence lessons with more than 3,000 illustrations.

In addition to teaching specific tricks, The Tarbell Course also teaches patter, marketing, the history of magic, ethics, advertising, routining, presentation, diction and elocution, magic theory, performance theory, acting, misdirection, timing and showmanship.

Volume 7 of the series was written by Harry Lorayne and compiled from contributions by other magicians; it is valued largely for its comprehensive index, subdivided by title, contributor, and properties, to the first seven volumes.

Volume 8 of the series was compiled and edited by Richard J. Kaufman and Steve Burton. It collected Harlan Tarbell's widely scattered and previously uncollected writings on magic, which Kaufman then fashioned into something resembling the first six volumes of the course. Since most of the book was written and illustrated by Tarbell, it is linked more closely to the rest of the course than Volume 7.

Master illusionist Mark Wilson has compiled the most comprehensive magic "teach-in" ever assembled. The secrets to more than 300 classic tricks-from sleight of hand to levitation-are carefully explained in this 503-page volume.

It's all here: Card Magic, Coin Magic, Rope Magic, Mental Magic, Make-at-Home Magic, Sponge Ball Magic, Billiard Ball Magic, Cups and Balls Magic, and Magical Illusions. Mark Wilson devoted more than two years of research, writing, and technical preparation to this book. More than 50,000 still photographs were taken of the detailed execution of the tricks considered worthy to include in this course, and these photographs were edited and converted into hundreds of simplified line drawings. The straightforward text follows Mark Wilson's "step method" of magic instruction, the same method he has used to teach magic to Tony Curtis, Telly Savalas, Bill Bixby, Dick Van Dyke, Peter Faulk, Bernadette Peters, John Denver, and other professional entertainers. It's thoroughness makes Mark Wilson's Complete Course In Magic especially recommended for the beginner with absolutely no experience in magic. At the same time, its scope and depth has earned this book a place in the libraries of many of today's most accomplished magicians, professional and amature alike!

Ce livre est « La bible » de l'illusionnisme.
Tout y est passé en revue. Chaque point est détaillé et mis en application à partir d'exemples de routines (60 routines au total sur les trois volumes), créées ou modifiés pour l'occasion.
Il y en a pour tout le monde et tous les goûts, du magicien de close-up, jusqu'au magicien de scène, passant par des grandes illusions, la magie improvisée, la mise en place d'un spectacle professionnel.

Il donne le point de vue d'un professionnel de la scène sur la magie. Par exemple : pourquoi un spectateur peut croire n'importe quoi lorsqu'il assiste à une pièce de théâtre, alors qu'il peut être très méfiant devant un spectacle de magie ? L'auteur introduit là un concept intéressant, qu'il nomme "la suspension du refus de croire".

La mise en scène de la magie est primordiale car Le magicien n'est qu'un comédien qui joue à être un magicien.

Comment créer et tirer parti d'une structure dramatique (attirer l'attention, introduire l'illusion, le démarrage, l'action, l'effet, le dénouement).

Mise à place d'une illusion : le scénario, le script, le boniment, les enchaînements.

Ce livre est « La bible » de l'illusionnisme.
Tout y est passé en revue. Chaque point est détaillé et mis en application à partir d'exemples de routines (60 routines au total sur les trois volumes), créées ou modifiés pour l'occasion.
Il y en a pour tout le monde et tous les goûts, du magicien de close-up, jusqu'au magicien de scène, passant par des grandes illusions, la magie improvisée, la mise en place d'un spectacle professionnel.

Il donne le point de vue d'un professionnel de la scène sur la magie. Par exemple : pourquoi un spectateur peut croire n'importe quoi lorsqu'il assiste à une pièce de théâtre, alors qu'il peut être très méfiant devant un spectacle de magie ? L'auteur introduit là un concept intéressant, qu'il nomme "la suspension du refus de croire".

La mise en scène de la magie est primordiale car Le magicien n'est qu'un comédien qui joue à être un magicien.

Comment créer et tirer parti d'une structure dramatique (attirer l'attention, introduire l'illusion, le démarrage, l'action, l'effet, le dénouement).

Mise à place d'une illusion : le scénario, le script, le boniment, les enchaînements.

Ce livre est « La bible » de l'illusionnisme.
Tout y est passé en revue. Chaque point est détaillé et mis en application à partir d'exemples de routines (60 routines au total sur les trois volumes), créées ou modifiés pour l'occasion.
Il y en a pour tout le monde et tous les goûts, du magicien de close-up, jusqu'au magicien de scène, passant par des grandes illusions, la magie improvisée, la mise en place d'un spectacle professionnel.

Il donne le point de vue d'un professionnel de la scène sur la magie. Par exemple : pourquoi un spectateur peut croire n'importe quoi lorsqu'il assiste à une pièce de théâtre, alors qu'il peut être très méfiant devant un spectacle de magie ? L'auteur introduit là un concept intéressant, qu'il nomme "la suspension du refus de croire".

La mise en scène de la magie est primordiale car Le magicien n'est qu'un comédien qui joue à être un magicien.

Comment créer et tirer parti d'une structure dramatique (attirer l'attention, introduire l'illusion, le démarrage, l'action, l'effet, le dénouement).

Mise à place d'une illusion : le scénario, le script, le boniment, les enchaînements.

Slydini was a genius of misdirection. Every movement and every word is deliberately chosen to direct the attention of spectators as well as to produce a graceful and engaging brand of close-up magic. Tony Slydini's influence among magicians was so strong that some of the best performers today, such as Tamariz, started out to imitate and copy every detail of Slydini's persona.

In this book you will find detailed descriptions of all effects which have become intimately associated with Slydini: Paper Balls over the Head; Knotted Silks; Helicopter Card; Coins through the Table; Cigarette Fantasy; and more.

Great set of books on the magic of Slydini. The first volume contains 101 pages of text and the second volume contains 176 pages of photographs so you can follow step by step in learning Slydini's magic. Ten chapters on some of Slydini's greatest routines including his Close-Up Miracles, Slydini on Rope Magic, Cards in Close Up, Torn & Restored Newspaper, More Slydini Coin Classics, The Coin Clip, Slydini’s Silk Knots, Slydini’s Sympathetic Silks Routine, Close Up Classics, and the complete Slydini Linking Ring Routine.