Luke Jermay Building Blocks

Building Blocks

by Luke Jermay

an alakazam magic publication

-

the main secret

,

of the

greatest

secret,

of the greatest

magician’s

success - lies in the skilful use of

suggestion”

Professor Hoffmann - 1911

...the

power

so to persuade them

“An examination of suggestion techniques in

combination with classic conjuring methods”

By

Luke Jermay

© Alakazam Magic October 2003

Published by Peter Nardi and Alakazam Magic. First edition October 2003

www.alakazam.co.uk

Books By Luke Jermay 7 Deceptions Building Blocks

Written by Luke Jermay

Edited by Mark Elsdon Proof read by Kaye Pudney

Illustration & Cover Design by Adrian Gower

Layout, design and page set by Jon Robinson; Agent X Creative

Published by Peter Nardi and Alakazam Magic

www.alakazam.co.uk and www.readminds.co.uk

Building Blocks

Building Blocks

Building Blocks

©All copyright owned in its entirity by Peter Nardi and Alakazam Magic, October 2003

No part of this publication may be reproduced, copied, stored or transmitted in any form whatsoever without the prior

From the Publisher

Welcome to Alakazam Magic’s latest publication, ‘Building Blocks’ by Luke Jermay. We consider it a real coup to be able to add this superb book by Luke to our range in this exciting aspect to our business. Along with ‘7 Deceptions’, ‘Building Blocks’ is Luke’s second written work. Like his first, this book will not disappoint. With many years of experience in the field of mentalism and magic, Luke’s work fits right into place within our portfolio and we are proud to be able to put our name alongside his.

Not just a highly talented sleight of hand magician, Luke has a deep understanding of and a tremendous ability in the

psychological techniques and stratagems so important in an increasingly popular side of our art.

Remember his name.

There will be more to come, of that we are sure.

Peter Nardi

Alakazam Magic

For more information about Alakazam Magic please visit our web sites at: www.alakazam.co.uk and www.readminds.co.uk

Foreword By Steve Banacheck page 9

Introduction By Luke Jermay page 13

Section One First thing first page 16 Section Two Definition is creation page 19 Section Three The power of silence page 23 Section Four The old witch doctor page 27

Section Five Convincers page 33

Section Six The building block technique page 42 Section Seven An essay by Kenton Knepper: page 45

“What are you suggesting by using suggestion”

Section Eight Mixing magic and mentalism page 51

Section Nine Methodology page 55

Section Ten Effects page 59

1. ‘Divided by hate’ page 62 2. ‘Stigmata to go please’ page 68 3. ‘The kats kradle’ page 74 4. ‘The ernie ball book test’ page 81 5. ‘The ice man cometh’ page 86 6. ‘Stuck in a moment’ page 92 7. ‘A remote castle’ page 100 8. ‘Blind sentence’ page 110 9. ‘Personality projected’ page 116 10. ‘A safe anchor’ page 122 11. ‘Out of (t)his world page 128 11. ‘A presentation’ page 136 12. ‘A strange garden’ page 140 13. ‘Judgement day’ page 149

14. ‘Zeroing in’ page 158

Afterword By Peter Nardi page 162

7 Deceptions, this was the title to one of Luke’s previous books. The title itself was deceptive, yet to magicians and “mental magicians” the title made sense. Here were seven tricks

(deceptions), but to working mentalists it was quickly understood that there were certainly more than seven deceptions contained within, more like 100. Probably the book should have been titled: 7 effects, 100 deceptions.

Some have dismissed much of Luke’s work as “effects that don’t always work.” Others have heralded Luke’s progressive thinking. Why the vast chasm? Again it was and is the difference between mental magic and mentalism. Not that there is anything wrong with mental magic, but THERE IS A DIFFERENCE and Luke clearly understands the difference.

Which brings us to this book; it certainly has a more apt title, Building Blocks….. but I wonder how many will understand what Luke is really trying to say? Let me, from a personal standpoint, try to explain. I once wrote a book dedicated to the nuances and psychological subtleties involved in being a mentalist. In writing the book I took it for granted that most would understand it was not the effects in the book that were important, but the small bits of business that structured each effect, these were the gems I was

foreword

did not say, why you said something and even more important, your attitude when you said something. It was amazing to me how many people told me they just did not get it.

Yet over time, almost all of these people who “just did not get it” have corresponded with me in some manner telling me that they have re-read my work, applied it to their own effects over time and now thank me profusely. One even re-read the book, looked over the videotape of his show and made three pages of notes where he could improve his presentations.

So how does this apply to Luke’s work? Two reasons stick out the most. I have heard a few people say almost the same things about Luke’s offerings (“I don’t get it, it does not work all the time.”) but even better, Luke has broken it down for you, something I wish I had done. He has even given you the title to explain it; Building Blocks is not about a child’s toy, it is about how to appear to be a “real psychic”.

If you go straight to the effects in this book and skip over the “building blocks” you can count yourself in that elite status of being a magician or one who does “mental magic” and more than likely a few of Luke’s effects will not work well for you, or never work for you at all. Again, there is nothing wrong with mental magic if you are presenting that, but this work is about so much more than just magic. Luke gives you powerful TOOLS to work with, don’t expect these tools to work all the time with everyone but do expect them to enhance what you already do and do expect that not only will they enhance what you do, but you will be better suited to choose the right individuals to get the job done and make it work more often than not.

I personally want to thank Luke for taking me back to my roots. In my early days I took chances knowing that usually (not always) I had a way to create a powerful outcome no matter what the reaction of the spectator participating. For example, it is indeed

powerful to bend a spoon or coin in someone’s hand, but how much more impressive is it to have a spectator tell you they feel it bending and moving in their hand? Although Luke does not tell you specifically how to do this in this book, he does give you the tools to do so; honesty suggestion, heat suggestion, power of silence, definition=creation, and the most important thing he gives you is your attitude or belief something is going to happen. If you believe in what you are doing as you do it, it will convey the right attitude and body language to a spectator, for instance you might subconsciously nod your head as you ask the spectator if they feel anything. This subconscious nodding of your own head will indeed cause most spectators to reply in the positive. At first you may not know why spectators respond the way you want them to, but over time you will learn the how’s and why’s, but the starting point is the positive attitude and belief you convey, your attitude will influence the spectator more than you could ever imagine.

Since reading Luke’s work I have taken a step back in time and now no longer rely upon the effect to impress the audience (a trap I had fallen into over the years), people again feel the prick of the needle as it pierces a copy of their hand, they feel the fork bending in their hand. Every sensation is enhanced and as a result, every effect is enhanced. Does it always work, no! But 90 percent of the time is okay by me if it enables me to be more “real” when I am in the moment; it is well worth the chance taken.

I challenge you to take these ideas and subtleties and apply them to your own work. If you do, I guaranteed you will not be

disappointed. Thanks Luke for taking me back to my early days. Having talked about the building blocks, let me briefly talk about the impressive effects in this book. My favourite effect from a magical point is “A Remote Castle”, to me it shows that Luke, as young as he is, not only has an understanding of the subtleties of our art, but can also create a great visual presentation. As with all

what you see on the surface. With fresh presentations like these, I look forward to the future of our craft.

In thoughts Banachek Sept 27, 2003

Welcome to my second collection of thoughts focusing on the combination of suggestion and the classic principles of Mentalism and Conjuring.

In my previous work, “7 Deceptions”, I simply explained effects and their wording and spoke of the power of the suggestions they had built-in. I have tried to move away from that type of writing in this work. I have, instead, offered the reader a detailed break down of the techniques I use throughout the book, as well as providing a number of full effects and the full scripting in the second section of the book.

The thinking in the book has been heavily influenced by many great thinkers. Kenton Knepper, Steve Banachek, Tony Andruzzi, Docc Hilford, Ford Kross, Chan Canasta and many more. I have to say a massive thank you to each and every one of the above

gentlemen for sharing their thinking with those willing to read and understand.

I hope you will be willing to read and understand my work too -and more importantly I hope you will find a thing or two to start your own mind working.

I titled this book Building Blocks for a simple reason. I consider

introduction

to the illusions they accomplish in my performances. Each method is a block that you too can slip into place when building your own routines. They can even be added into the effects you already perform.

Let us now briefly look at the types of material covered in this volume. You will find within these pages a selection of material that can more or less fit into three main categories.

The first is sure-fire Mentalism or Bizarre Magick. This needs no real words of introduction, these effects are sure-fire, tried and tested performance pieces borne from classic principles of

conjuring and Mentalism. The methods employed are simple but like everything in this volume do require a good strong

presentation in order for their full effect to take place. You will notice that some of the effects such as The Ice Man Cometh and A Remote Castle require a little preparation and staging or order to achieve the desired effect. To my mind this preparation is more than rewarded in the long run.

The second and to my mind the most interesting type of material is that in which a combination of suggestion techniques and magical methods become as one to aid the deception. In such material strong and resonate effects are made possible in a way that could never have been dreamt of without the use of

suggestion. Effects such as Projected Personality would play well without the suggestion sequence but becomes something more than the sum of their parts, taking on a new level of strength due to the combination of suggestion and deception.

Suggestion and deception can bind together like bricks and mortar, making a powerful and bold effect possible. Such routines also have the advantage of being able to play with or without the suggestion sequence. If for some reason the suggestions are not taken as well as one would have hoped all is not lost. It allows the

performer the opportunity of honing his suggestion skills without the menacing fear of failure.

The final type of material is that in which nothing but suggestion is employed. This is a style that is both bold and courageous. It opens a new world of adrenaline rushes during performance and is to me the most rewarding when successful. In these routines there is nowhere to hide. You must be confident and experienced with suggestion. I normally include one or two of these effects in a performance. They afford us the power of prop-less and powerful Mentalism and help us keep our wits about us, making every performance fresh and exciting.

This kind of material could also be said to cover the realm of psychological forcing, something I enjoy performing immensely. In effects such as In Thoughts and Words we will see bold and powerful psychological methods used to provide wonderfully pleasing results.

Let us now begin our journey.

page 16

first thing first...

...first thing first

section one

First Thing First

This is something that I always find myself stressing in a lecture situation. We as performers sometimes neglect to understand that when working with suggestion everything we already do has its own inbuilt suggestion attached to it. It is not simply enough to concentrate on our scripting alone. The way in which we move and how each effect is framed and introduced is vital in the success of a routine that centres around suggestion.

Let me use an example from my own repertoire. The effect with which I open my set has nothing to do with suggestion. It is a classic application of a sure-fire principle. Despite this, I always introduce it as being something that is all about suggestion and is in fact not very easy for either myself or the spectator taking part. I seem very happy and thank the spectator for their effort and explain that they really did brilliantly to have been so receptive during such a difficult sequence. I then move onto an effect that does work around suggestion and open it with the words:

“Ok let us move onto something a little easier - now you are accustomed to such things.“

This speaks on many levels. As do I when I state it. I seem more relaxed and appear more confident with this effect.

The suggestion inheriting within these words and actions when combined are simple. You are communicating to your audience that what you are about to do will work and you appear to have no

There is no other outcome. This will work.

The effect faking suggestion, which precedes an effect that

actually makes use of suggestion which will follow the ‘something a little easier'’ line, has been said to be somewhat like a placebo experiment in which someone was wired up to receive a painful electric shock. They would rate the shock 1-10. When the brief shock reached 10, a placebo saline solution would be injected, and the patient would be told that a new wonder painkiller had been given.

The experimenter would then secretly turn down the electric juice a little bit, and re-shock the patient. Only a 7 this time. This process was repeated three or four times, a lower level of shock being given after the placebo injection. Then the patient would be shocked and injected again but this time, when the shock was given after injection, it would be left at its original level yet felt only as a 5 or a 6, i.e. like the lower amp shocks.

The upshot of this seems to be that by accumulating suggestions, we can make our subsequent deceptions stronger.

I feel this could be used to add some kind of contrast with a one-man show, turning the dial lower every now and again, and then blasting full at the end. It makes the final effect even stronger.

definition is creation...

...definition is creation

section two

Definition is Creation

“By the very simple action of defining we create”

This is the first rule I apply when constructing a routine centring on suggestion. It is a simple and yet powerful rule to go by. If we state it in its simplest form it is to say: by hinting to a spectator what they are about to experience you have actually made a suggestion of what will happen. This simple and, when read, somewhat obvious rule is actually one of the most powerful in the type of work I use. If you tell a spectator what is to happen but in truth leave the definition open to their own personal interpretations, they expect something to happen and will find this ‘something’ themselves. Once this first ‘magical’ event has happened it is easier to work with more specified suggestions as they will try to fight it less. Now clearly just coming out and saying to a spectator, “You will feel the ring heat up” will not only doom the effect to failure in 99.9% of performances but also make you look like you have some problem with social interaction. With a rule so broad it can be difficult to see exactly how one would apply it in a real working situation so let us examine it using the example given of a ring held in the spectator’s hand becoming warmer and warmer.

“Would you mind helping me for a moment? What we are going to do may be a little scary but it is nothing to be worried about; there will not be any after-effects. It’s just like a little mind game. If you would not like to help, it is fine.”

These opening statements do several things. They begin by setting the tone. I have openly stated that something strange will happen.

I have however not specified what that strange event will be. I have also given some weight to the effect but introducing it with the ‘no long term after-effects’ statement. This tends to force the spectator into thinking more deeply about whether or not she would like to help.

I find this very useful when choosing a welcoming and suggestible spectator and we will cover more on this subject later in this volume. It has also pinned an underlying theme of importance to the effect as something to be taken seriously.

“I would like you to take that ring in your hand and grip it very tightly. In a moment, not yet, something odd will happen, some kind of sensation.” Now these lines are so unspecific that anything could qualify as the odd sensation. They will attribute meaning to it in their own way.

They will actually deceive themselves into thinking they felt what you had intended to do. This is due to the simple expression of intent you displayed. You intended for them to feel something, they then felt something.

Obviously they will put this down to you and your magical prowess. They at this point may not feel a thing. I normally continue on a script of this kind with another small but powerful linguistic trick: ‘The Honesty Suggestion’ as well as the ‘Pulse Suggestion’ fully covered in the ‘Convincers’ section coming a little later.

We will also look more deeply into combining the use of these techniques in the ‘Building Block Technique’ section. Anyway, let us continue our examination focusing our attention only on the ‘Definition = Creation’ rule.

“Now when the ring becomes warm I want you to drop it, don’t worry I will catch it, but you have to remember to let go. It is a lot hotter than you would think. OK?”

In my experience this simple line combined with two or three of the ‘Convincers’ covered later will be enough to push the spectator over the edge. The reason for asking them to drop the coin is simple. This is stated somewhat more quietly than the rest of the script, it will make the whole effect seem much more impressive to the audience at large than it simply warming in the hand.

The moment in which the ring is dropped is a good theatrical finish to the effect. It also allows me to play up the ring heat. I act as if it is hot and drop it from hand to hand. This physical

suggestion helps to cement the idea of the ring’s heat. Don’t over-play it. I often finish up by asking another spectator:

“Be careful, but can you feel that as well?”

You’ll notice at no time have I directly stated what will happen and yet simply through the definition of what they are to do I have suggested on many levels what will happen. Clearly this is no strict model and it can be manipulated to suit whatever you may be doing. This is the first of the building blocks that when combined with further techniques such as the ‘Convincers’ will create a powerhouse of deception. One need to look no further than Orville Meyers’ classic work “Telepathy in Action” to see just how powerful this very idea can be and indeed to what extent it can be used.

My good friend Kenton Knepper also has some very interesting work on such subjects contained within his priceless “Wonder Words.”

the power of silence...

...the power of silence

section three

The Power of Silence

The power of silence is, despite seeming at first glance to be nothing more than an oxymoron, a massively powerful technique we have at our disposal when it comes to creating strong theatrical routines which focus on the use of suggestion. Composers

understand that the pauses between the notes are as important as the notes themselves. Silence informs what follows it, and it is informed by what precedes it.

I feel this technique is hugely underused in the performance of mentalism and bizarre magic, especially by people (like me) who focus on the wording/scripting of an effect. Maybe sometimes we need to consider the use of silence as "scripting" in the same way we do those Wonder Words so close to all our hearts? This use of silence could be seen as a use of heightened awareness and the portal of intent. We must use it as such. Think about it. You must reach the point where you understand what intent is. And, above all, you must understand that knowledge cannot be turned into words. That knowledge is there for everyone. It is there to be felt, to be used, but not to be explained.

With this thinking you create Power within the Silence in your performance. It becomes something theatrical and takes on a new level of importance not only from a methodological viewpoint but more importantly from the viewpoint of those watching the

performance.

I see silence as a powerful theatrical tool. I remember seeing Jamy Ian Swiss perform a routine in which a ring moves inexplicably along a pencil, in which he remains totally silent almost throughout the whole presentation.

Many magicians assumed that Jamy was lacking a presentation for the effect, which was in truth the complete opposite to Jamy’s well thought out and powerful piece. Jamy had the guts to shut the hell up and allow the power of silence, which in itself can be a cold, chilling and impressive tool, to add power to his effect, raising the impact in doing so.

A problem with silence is choosing the correct time to allow it to come into your presentations, and then choosing the correct amount of silence, before it becomes something of a joke. I think that mentalists and bizarrists by their very nature need to allow the power of silence to upon occasion take control and do the work that is unachievable without it.

To allow the power of silence into your suggestion-driven routines is a powerful way of allowing the spectator’s own imagination to fill in the blanks and actually begin to experience what you may have suggested to them on a deeper and more impressive level. Leaving a suggested idea in the mind of a spectator and then allowing them to develop it allows for a more powerful

performance than would be possible otherwise.

In my book “7 Deceptions” there is an effect called A Twisted Palm Reading in which the lines on a spectators palm appear (to them) to be moving and dashing around on their palm making patterns and shapes that were not on their palm moments earlier. This is an example of a routine in which I have to leave my ego at the door.

I cannot take the credit for this effect - the spectator is the one who deserves it as they are the person who will ultimately deceive themselves. I plant the first seeds of suggestion with the scripting and use the ‘Building Block’ technique (to be covered later), then allow their mind to fill in the gaps and make the effect even more wild that I could ever imagine. This is done by simply holding their palm firmly and looking somewhat deeply into their eyes. I say nothing. I ask them to describe what is happening. I say nothing more until the very end of the sequence, in which I thank them for their help. It is a powerful tool, that when wisely

employed can produce stunning results.

the old witch doctor...

...the old witch doctor

section four

The ‘Old Witchdoctor’

This term is taken from Banachek's brilliant “Psychological Subtleties” book. It has a massive importance to play within the methodology of the routines you are about to read. If we look at it purely as an outsider, we see something very different from the standpoint of the performer.

Basically it is the rule that if you spent so much time and effort in making some kind of movement or action, it simply must have an effect. This is the suggestion it carries anyway. In my book

“7 Deceptions” the effect entitled RGM features this and provides a good example of exactly how and what this powerful tool creates and how it does so.

In the aforementioned effect you appear to remove a memory from a spectator’s mind. During the course of the effect, I request the spectator hold their arm fully outstretched with their first finger extended toward me. I then take a few moments and actually close my eyes, slamming my hands together and gently rubbing them in a circular motion against one another. I then take a deep breath and open my eyes. I begin to slowly move my hand toward the spectator’s. During this slow and gradual meeting of the digits I begin with another suggestive technique covered later on in this chapter which appears to create a sensation running through the spectator’s finger. I suddenly and unexpectedly move my finger very quickly toward the spectator’s. I then push the hand toward them for a few moments. I finally finish by waving my hands for a moment in front of the spectator’s eyes, while I ask them if they

can remember. They invariably cannot. I then allow my arm to fall under its own weight and relax myself, taking a few moments to allow the silence to add to the general effectiveness of what has just happened.

Just place yourself in the shoes of a spectator for a moment. Ask yourself why would the performer possibly go to that effort and spend that amount of time on something that served no purpose whatsoever? The obvious answer is he didn’t. What he did had some kind of effect, without it he could not do what he set forth to. This is an extremely powerful suggestion technique. One I make as much use of as possible. It really helps to drive home the suggestions and more often than not makes for a visually

appealing routine.

The secret to this technique is appearing 100% at ease with what you are doing, appearing as if you are sure of the outcome.

Another example of this, not strictly the same but it can be put to good use when combined with the techniques under discussion, is the use of a reward. Let me explain. I personally try to avoid the use of ‘bets’ or ‘wagers’ in my own performances as I feel it encourages the setting up of a challenge attitude in which my spectator is more interested in the effect failing rather than of its success. However, I have no doubt in my mind that some

performers can make stunning use of such things. The very act of placing a large amount of money onto the table and telling someone you will give it to them if you fail says a lot without saying anything. The spectator begins to think that you are either so good at what you are about to do that there is no way you can fail or that what you are doing has a very slim chance of failure. Whether or not these are good things to be suggesting to your audiences I will leave up to you. However, I am sure that in the right hands the use of a ‘wager’ can be a powerful and useful addition to your arsenal of presentational gambits. Finally, I must

Without wanting to sound too much like a new-age tree-hugging hippy, I could almost be pushed to say that the real work behind this technique is to simply believe that you can do what you claim to do. If you believe in it, you will communicate this on many levels without ever attempting to. This will make the whole affair appear with more conviction and make the suggestion a hell of a lot stronger.

Many experienced performers have discussed the concept and use of The Silent Script, so I am not going to go into the ins and outs of the subject as I am sure you are already familiar with it. I will however cover one notion regarding the use of the Silent Script. It is my honest opinion that if we do not believe in the material and that we have this, for the want of a better word - this power, I feel that our performances will not succeed in the way we want them to.

Firstly, the notion that everything we do is ‘suggestive’ is very powerful. I have wondered how far we can take this through the use of suggestion. How explicit do we have to be about, for instance, our performing character and its biography? Is it possible to say more by saying less?

As an example, when we deal with the Witchdoctor effect. I feel if the performer doesn't believe in the cure, or you might say the ritual, neither will the spectator. This means, therefore, that

somehow, one's interior attitude is communicated to the audience. That even though we may appear to do the same things,

performers can vary widely in the effectiveness, because they have different thoughts and feelings in their head and gut when they perform.

This is a sobering thought for the dogmatically rational performer. That he or she can't power his or her magic with the fire of belief.

My good friend Caleb Strange related the following tale that fits nicely as an example:

“There's a famous case in the medical textbooks - forgive me if you're familiar with it. In 1947, in East Grinstead hospital, a noted dermatologist was operating on a boy with what appeared to be millions of warts over his body. The young registrar said, 'Oh I've treated that before with hypnosis'. 'Oh have you', said the surgeon exasperated, 'then I invite you to have a go'. So a few days later, the registrar hypnotises the boy, and within a week all these 'warts' had gone from one arm, though the rest of the body as it was untreated, remained as bad as ever. The registrar showed the surgeon, who was staggered. 'Treat the rest of him,' said the

surgeon, and so the young doctor did, and the boy's skin was clear within another week. It was then that the surgeon told the registrar that what he had mistaken for warts was a congenital, incurable skin condition. That it was actually impossible to treat it. But treat it he had. This was big news all over the world, and the few

unfortunate people who suffered from this rare and fatal condition, flocked to be treated. But the registrar was unable to treat them. Because now he knew that he could not treat them. That somehow his belief that what had happened was impossible, communicated it to these other patients, and so they were unable to believe themselves in their own recovery. Circumstances had dictated that the registrar had hypnotised the boy erroneously believing that he would be cured (hypnotism is good for warts), and so he was successful. But when he knew the truth, the young doctor failed”. I thank Caleb for his trademark thinking on the subject and, as he normally does, he manages to make the points others would need so many more words for.

The Silent Script is something that can rationalise internally what it is that we as performers do. However I do not use it in the way that, for example, it is thought that Cardini used it. I do not use it

conviction. I mention in the text for ‘The Witchdoctor’ that this feeling of utter conviction and belief has to be something that is communicated through your performance. This can be

communicated using many different methods. However I feel the use of The Silent Script is the most powerful way of doing this. As I said, I do not follow the same kind of internal dialogue as for example it is thought Cardini used.

However I do follow an internal dialogue that revolves around me being able to do what I claim without any problems standing in the way. This is something that is hard to put into print - however I hope I have made myself clear. If you can begin to use this notion within the context of suggestion routines, I feel your success rate will increase massively.

convincers...

...convincers

section five

Convincers

Let me introduce the notion of a ‘Convincer’.

A convincer is something I employ after the general seed of suggestion has been planted. It helps to fertilize the suggestion and will, in its own right, have some kind of effect of its own. In this section we will cover:

Convincer one: The Shadow Suggestion Convincer two: The Honesty Suggestion Convincer three: The Heat Suggestion Convincer four: The Pulse Suggestion Convincer five: Everyday Suggestions

These convincers are very useful in the structure of a suggestion sequence. We will cover the structure I prefer when dealing with suggestion sequences later in “The Building Block Technique”.

Convincer one

The Shadow Suggestion.

This also falls under the section of ‘Convincers’. However, by its self it is still a strong and useful suggestion technique. The reason this works is threefold. You will be suggesting whatever you wish in visual, auditory and sensorial ways. The technique basically appears as if the performer cast his or her shadow over a

spectator’s arm. He asks the spectator to focus their attention on the shadow and how it makes their skin feel. After this casting of a shadow, the performer will have successfully driven home his suggestion.

Let us look at this in more detail. As I have said this works on several levels, which when combined, make a wonderful trio. Let us imagine that the performer wishes to use this technique to cement the notion of the ring that becomes hot, as spoken about earlier. The spectator has already been effectively primed to the idea of the ring becoming hot through the use of the ‘Definition = Creation’ principle:

“Please hold your hand out, the one tightly gripping the ring. Thank you. Now I would like you to just relax, take a few deep breaths and really allow yourself to concentrate upon the way the ring feels in your hand…

I‘m going to simply cast a shadow over your hand. You will begin to experience those feelings, but on a much more intense level…” I then reinforce the suggestion by employing the ‘Power of Silence’ principle and slowly move my hand over the spectator’s. I stare

arm and then back down to her hand, all the while remaining silent. I then stare her in the eyes and repeat this action while stating the following:

“See how that makes your arm feel colder but the ring hotter? Weird isn’t it. Just watch that shadow and feel what it does to you. Take another deep breath for me.”

This is clearly not something you can use in every effect - but when used in the right context it becomes a very useful ‘Convincer’.

Convincer two

The Honesty Suggestion.

This is a very interesting and also powerful little technique that I make use of in almost all my effects. It is interesting for some very simple reasons. I actually come out and state:

“Don’t lie to make me look good...I mean if you don’t feel anything, you don’t feel anything. It sometimes takes a while, but just wait for it. It will happen - it is always different with each person as each person thinks and feels in differing ways.”

This is useful for several reasons. Firstly it will add believability when the spectator does begin to describe what he or she is

feeling. It also suggests to them, that whatever you claim they will feel, will happen - it may take a while, but it will happen.

Convincer three

The Heat Suggestion

This is an effect in its own right. In effect, an object heats in thehand of a spectator. This can be, as with all of these

techniques, molded to fit whatever sequence you would like it to. You may wish for example to change the heat suggestion from being direct, i.e. heating something in their hand is just a

symptom of the effect you have set out to cause. For example you could simply use it to suggest that the spectator will feel a dart of heat run through them. In the example of my effect RGM you could employ this technique to cause the spectator to feel a sudden dash of heat run through their finger just prior to the forgetting sequence.

Here is the actual model.

“Now I don’t know when you will notice the heat which you will begin to feel, but sooner or later it will happen. Don’t worry if it takes a while but all of a sudden it will happen. Just let us know when you feel it.”

Obviously this is a simple suggestion and will need developing further if you wish to make it into a single stand-alone effect. However when combined with all the other techniques it proves a very useful method.

Convincer four

The Pulse Suggestion

This is a very powerful suggestion. In fact I feel this is the

strongest of all the ‘Convincers’ covered here. The main reason for its strength, in my opinion, is the fact that it works almost

instantly in the mind of your spectator. There are many reasons for it happening so quickly. The most simple of all is the fact that what you say will happen is actually a natural occurrence, but when you place it within the context of a suggestion sequence it appears to be anything but natural. In effect, if we again refer back to our example of the ring becoming hot within a spectator’s hand, it is the simple statement that an object will begin to ‘expand’ and ’contract’ within the spectator’s palm, almost as if it were to have a pulse.

The actual methodology behind this is so simple it is almost embarrassing. You will simply focus their attention on the object that you have asked them to tightly grip. Now the sensation of it “breathing” is utterly natural. It is simply due to the fact that the grip is tight and the object is being pushed hard into the nerves of the palm. All you need do is develop those natural feelings. This bears many similarities to the heat suggestion in its structure but also employs a visual suggestion.

“Would you make sure that you keep a tight grip of your ring. Great - I really want you to focus on the feelings and shape, the line and the curves from your ring.”

Pause for a while allowing the spectator to actually do this. Allow them enough time to actively think about exactly what they do or

do not have in their hand.

“I’m not exactly sure when you will begin to notice those weird feelings...”

After I state this, I simply look at the spectator’s hand and allow for some moments of silence. I then regain eye contact and pause for two beats before continuing:

“Like I said, I’m not 100% sure when you will notice that kind of pulsating feeling from the ring, almost as if it were moving in and out, breathing if you like, all by itself. You can feel it right? How much is it moving?”

Notice the wording here. You basically force them into agreeing that they feel it, which 99% of the time they will anyway. Now I repeat the wording below while I make a fist in each hand and bring them together so the knuckles of each hand are touching. I then move the fingers of each hand away from the palm and back into the fist shape. This appears to be like a heart beating. “You will feel it moving in and out, breathing, almost like a pulse within the object - correct?”

Convincer five

The Everyday Suggestion

Finally, let me mention ‘Everyday Suggestion’.

This is a very simple notion and I will not insult you by spending any more than this paragraph on it. Despite my brevity though, please realize that when used in combination with the other methods it is very useful. It is the naturally implied suggestion of common objects and what we know to be true about them without even having to think about it.

Here is a simple example to stimulate your thinking:

A box is held upside down and nothing falls out. The implicit suggestion is that the box is empty. But is it?

page 42

the building block technique...

...the building block technique

section six

The Building Block Technique

Here we will deal with the structure of a suggestion sequence. I have covered a few of the basics needed to successfully perform the suggestion routines covered within this volume. However I am sure you will want to take these ideas and develop them in your own ways. In my mind the most important of all the

suggestions to think carefully about are the convincers. They will increase the impact and if they are chosen correctly, and framed properly, they will strengthen any effect in which you use them. I generally use the suggestions pretty much in the order of which they are listed opening with some kind of Definition = Creation statement, then moving onto a few Convincers. I then, if the effect is correct, employ the Power of Silence principle and finish off the sequence with a few more convincers.

Now let us come to something we have not dealt with yet. The combination of classic magical methods with those we have covered. This to my mind is a very potent and wonderful mix, as together they complement one another and can make for some utterly compelling magic. Now obviously, throwing a few

‘suggestions’ into your Run Rabbit Run routine would not be such compelling theatre. However, if you can structure your magic routines to include these elements of suggestion you will have a win - win situation. You have the magical effect to fall back on if the suggestions were not as successful as you had hoped, however if they were, you have doubled the impact of your routine. All the time you are risking nothing.

Take for example the standard Ring Flight. If you were to use the Hot Ring effect we have discussed as our example before vanishing the ring, then you will have actually made the ring vanish in a much memorable way than a simple false transfer

.

In the context of mind-reading routines it is very useful to combine these techniques and for me this is where they are the most

powerful. Why not attempt to use a suggestion sequence during your centre tear routine to actually have the spectator believe they physically felt their thought jump from their mind? This very effect is covered in the effect The Burst Bubble. It is something that I have enjoyed great success with and I urge you to try it out - I’m sure you will enjoy performing it as much as I do.

Your imagination is the only limit facing you. If you are willing to keep pushing things forward and to try something more daring than the last every time you perform, you soon will be discovering the true power of these techniques. It is with this mind set that some of my favorite material has been created and it is this same mind set that I urge the reader to develop when creating their own material.

What Are You Suggesting by

Using Suggestion?

What Are You Suggesting by

Using Suggestion?

an essay by Kenton Knepper

What Are You Suggesting by Using Suggestion?

an essay by Kenton Knepper

When I was growing up in magic, I was instructed adamantly to learn all I could about psychology and human beings. I was told in no uncertain terms that this was a major key to success in magic, and in life. Fortunately, I listened to that instruction somewhat. Luke asked me to say a little something on the subject of modern suggestion use, as I have become a major figure in forcing

suggestion back into magical performances. There is no doubt that there were others before me, please understand. But as these people’s works became dismissed as “mystical” or “difficult”,

psychology and suggestion faded from the view of most performers. I am delighted I have had such a part to play in bringing such matters back to where they belong - magic. By “magic” I mean performance magic and 'mentalistic' magic -sometimes oddly renamed “mentalism”, though it is nothing of the sort. Suggestion has never lost sway in actual mentalism or those who practice what they consider “real magic”. Suggestion and mentalism is nearly synonymous, for instance. Recently I was speaking to a well-known mentalist and magician from another country. He states as a fact that his success and his creativity are due to nothing other than suggestion.

So, it is strange indeed that if suggestion has such magical power within our minds, we should ignore it in magical and mental performance. Houdini, Thurston, Kellar, Blackstone, Orville Meyer, Ormond McGill, Peter Reveen have all used suggestion personally and professionally. If the famed and talented wonder workers of our past made use of such concepts, as does our modern day elite,

then why wouldn’t the rest of us?

I spent a great deal of time on suggestion in Wonder Words. I made what some believed an outlandish statement back then: “Everything is a suggestion”, if you but use it and become aware. Since then, many others have followed along to support such a claim.

But what is suggestion? One definition is a “subtle command”. Unfortunately, too many believe a “command” means a “demand”. If you demand something, it is rarely an unconscious doing.

Suggestion is more hinting at what you wish to be done. You must be prepared that these hints can be missed by the thick-headed or wandering mind. I imagine that is what frightens performers. They think that there may be a high rate of failure, and no act can be so unreliable. Such performers forget that fingers fumble, electronics stop, mechanics break, assistants miss cues, props stick, and so on too. These performers suffer from the delusion that the magic they do is foolproof - when secretly they know it is not.

Let me try and put your mind at rest now. I have taught performers how words were used in everyday speech to create assumptions and illusions - normal people do this everyday of their lives. I suggested that performers do the same thing - but consciously be aware of the word illusions when using words. Suggestion is similar. We use suggestion on others and ourselves daily. Why not take advantage of this secret influence in our performances - just by being consciously aware of that which we already do.

How do we use suggestion? We consider other ways to make direct statements. We hint at things we might otherwise say out loud or directly. We know that body movement, words, daily experiences, and mental processes all have ways of hinting at things rather than pointing them out directly. A person need not

tone of voice, look in their eyes, how they react and think and so forth that they are not happy. The cues, which give you this

information, are one meaning of suggestion. The person does not say anything directly, but everyone in the room is aware of what these hints mean.

Various actions naturally suggest ideas to our minds. A cup with a light steam coming from within it suggests a hot beverage. Our minds take shortcuts to information. This occurs out of necessity. It would take our mind forever to process something if it could not go back through our experience and make certain generalisations and assumptions. This is, in part, how suggestion works. I dump a deck of cards out of a card case and toss the cards aside. The suggestion is that this case is now empty. It need not be, but most people will now assume that it is. If however, I said directly “The case is empty, so we will put it aside over here” - now I have aroused suspicion! We have been taught not to say, “This is an ordinary deck of cards” as it arouses suspicion. What was missed was the reason this caused such a negative response. Suggestion is most often taken as assumed fact, whereas direct comment and action are up for conscious and intellectual debate.

Suggestion is not so much about conscious awareness, which is why it slips by unnoticed. Ideas sneaked into the minds of an audience by suggestion are generally accepted, as they are not consciously, critically, challenged. The same concepts presented to an audience directly are open to scorn, debate, and ridicule. As we would all like to avoid as much of the latter as possible,

suggestion is a simple, magical, solution.

I have long taught an arcane formula as applied to performance: Definition = Creation

That is by defining a thing, we create it as apparent fact.

Advertisers and scientists do this constantly. Why not magicians

and mental performers? By labelling anything, we create certain suggestions inherent within that label. I have done this in many of my works. Luke uses it here in his many presentations. Luke and I combine this formula with other methods of suggestion, and many of our friends have followed. This is often the secret behind what appear to be our miracles.

We also use suggestion by not labelling anything directly. I have taught, as have others, that silence has its own power and its own importance. It also has its own suggestion within it - though this varies within the context it is used. Likewise, saying or doing things that cannot be easily defined suggests something as well. Often it suggests some hidden, occult, power or secret meaning. Luke takes advantage of this, as have I when I first wrote of “non-sense” and later Banachek of “The Old Witchdoctor”. While not often discussed, it is the suggestion in such acts that make them powerful.

What has now become labelled “convincers” is of course a suggestion meant to reinforce a previous suggestion. It is also often a subtle link between a physical likelihood and a label. This method may also be used to link a suggestion with a visual, audio, or feeling hint. Whatever happens, this is labelled too, so that the facts reflect the original premise.

I talked about the “Duh” factor in Wonder Words and other writings. This is when a suggestion is made - hinted at - based upon common experiences. Luke uses this notion in many of his effects. While what I encouraged in Wonder Words may have lead many performers to including metaphors in their works, I

especially enjoy Luke’s rose effect in this book. It is my kind of enchanting magic, with a message both direct and metaphorical, spoken and symbolic.

them is acknowledged to be true by a spectator, all the rest will also be believed to be true, generally. This is not one hundred percent, as truly outrageous and obviously impossible claims may be dismissed. But overall, suggestion indicates that if a spectator answers in the affirmative, it is all true. This is a portion of my so -called “multiple reality” or “dual reality” principle, as it has been dubbed since Wonder Words, and Luke uses this very well. Keep in mind how labels create supposed reality by suggestion. Think of how silence and words both can hint at ideas known and unknown. Consider how suggesting ideas to your audience indirectly could be used rather than relying on direct statements. Ponder how physical motion and meaning can be used to hint at an effect. Dare to try and keep practicing, as one must do in all performing arts regardless of technique or method. Keep the idea of indirectly performing as well as directly entertaining. Do these things as you read through Luke’s book, and you will better understand the thoughts and principles behind it.

Luke of course first placed some of his material in my manuscript “Miracles of Suggestion”. Later, I was pleased to pen his very first booklet for him. Some of his works in these manuscripts have already become classics. Surely this new book will be viewed much the same.

I am thrilled that I have been thought at all a teacher of such fine students and methods as the last two generations of miracle workers have produced. To have such influence in these fine

performers and thinkers is indeed a great honour and blessing. No doubt how Luke applies these concepts will be a blessing to you and your performances too.

Enjoy the mysterious and indirect ride. Kenton Knepper

2003

mixing magic and mentalism...

...mixing magic and mentalism

section eight

Mixing Magic and Mentalism

I personally have issues with the mixture of traditional magic with strong Mentalism. I feel that to switch from a compelling

demonstration of psychological influence and thought reading to a sponge ball routine will raise several unwanted questions about your performance.

However, I do feel able to combine magic and Mentalism if the magic is ‘correct’. Let me explain. You will see in the second section of this volume a collection of some ‘magic’ effects. They are, however, hinting at a side of magic that a sponge ball routine couldn’t possibly. I have never exclusively confined my

performances or repertoire solely to Mentalism. The majority of the material I have put in print does not actually fall under the standard definition of Mentalism. The effects that I am most proud of and draw the best and most resonant reactions from my audiences are certainly not Mentalism in the traditional sense. One effect that I include in all of my performances and which appeared in my book “7 Deceptions” is called For Andruzzi. In effect, the pulse of the performer slows and eventually stops. The performer then continues and actually appears to stop of the pulse of a spectator! This is in no way traditional Mentalism. It does however seem to fit perfectly within the constraints of a Mentalism set. Another of my effects in which, during the course of a palm reading, the lines of the spectator’s hand begin to wildly dance around on their palm, is similarly avant garde. Again, however, it fits perfectly in my Mentalism set.

Clearly, Hippity Hop Rabbits does not fit my style. However, I do feel able to mix a darker form of magic with Mentalism and

Suggestion to make a fresh performance. Some people will throw in the term ‘Bizarre Magick’ when such concepts are spoken of. I do not class myself as a Bizarre magician. I do feel at times I draw from the world of Bizarre Magick in order to create what in my mind is the strongest possible effect but again I do not commit myself to the strict term Bizarrist. I feel that my performances actually fall somewhere in-between the two worlds of Mentalism and Bizarre Magick.

I feel that this combination can create such stunning and

compelling presentations that I could not possibly commit myself totally to just one genre.

In my own performances I have been known to mix many different ‘powers’ within one performance, but often my effects have a central THEME. Here lies the rub.

Some routines in this volume are comprised of several effects which on the surface seem unrelated. It is only when a closer look is taken that these effects tie together. They all revolve either in presentation or direct effect around emotion.

I do, as those of you who have seen me work or read my other books already know, tend to focus mainly on my ‘Suggestive

Mentalism’ set more than other parts of my repertoire. Even when using other routines though, I always try to either tie an emotional hook directly into the presentation or affect a spectator

emotionally via the actual workings of the effect.

I feel that the group you are working for dictates just what you can and cannot do before crossing the line. Upon occasion, if the mood is right, I perform an effect in which a scar appears and then heals itself on my palm. This is an effect that if presented at the

I use this as an example of why it is important to stay flexible and be able, if the mood is right, to push things forward but always keep the performance strong. Rick Maue offers a lovely

assessment of good theatrical performance being like the wind. It is inexplicable and invisible, moving as it chooses and affecting all in its path. This I feel is a very good mind set to be in and the one I try to put myself in when constructing new material or

performing. Look at the most successful ‘psychic’ on the planet, Uri Geller. He uses this gambit and probably will for the rest of his life. A true testament to exactly what is able to be presented with credibility if the performance is strong. Love him or hate him, no one can deny him of a strong performance. If we look closely at Geller’s performances we can see they each run along a central theme also. He almost always tends to shift the “applause and admiration” toward the spectator - something I am sure helped a long way in endearing him early in his career to the public at large. So for me the mixture of Mentalism and magic, when done with care, is natural and powerful. I attempt to structure every effect around a central theme and only select material which I feel complements the other effects within the set. I also try to remain flexible. I hope this is clear, as these are not easily achieved goals, but ones which I personally feel are well worth thinking about. Hopefully you feel the same?

methodology...

...methodology

section nine

Methodology

“A brief look at modern Bizarre Magick”

Bizarre; bi·zarre (b-zär*) adj.

Strikingly unconventional and far-fetched in style or appearance; odd; fantastic; whimsical; extravagant; grotesque. See Synonyms at fantastic.

The Webster Online Dictionary Definition of the word Bizarre ...

‘Strikingly unconventional’, an interesting definition, but possibly the curse of Bizarre Magick. I personally feel the lines that define the very nature of the umbrella term “Bizarre Magick” need to be re-drawn and serious thought given to how Bizarre Magick fits into a modern performer’s repertoire.

Personally I have very little room for skulls, daggers and robes within my professional repertoire. Do not misunderstand me, I am in no doubt that such a presentational slant can be performed with style and theatrical grace, one need look no further than Rick Maue or the god who is Christian Chelman to see so. I am simply setting forth my own chosen path and my thinking in an area which almost by its very nature is indefinable.

To my mind the Bizarre performer need not steep himself in robes and skulls in order to be strikingly unconventional or indeed to be seen as performing the darker side of Magick. I at present have no effects within my own “darker” repertoire that involve the use of anything other than the mind or body of a spectator, or the body of the performer and a few simple props, such as a ring, an old

nail, etc.

I personally feel that people associate skulls and such with children at Halloween and not with a person with otherworldly knowledge or powers.

This is of course an area that needs thought anyway - exactly what do you want to communicate to your audience? The answer to this question provides great rewards.

My own goal in the performing of “Bizarre Magick” is quite simple. I wish to present as chilling a performance as is possible. To me, skulls and daggers simply are not at all unsettling to a modern audience. I actively try to eliminate the “clutter” of props in my presentations. I prefer to employ simple and unsettling plots with simple and easy to follow movements without the added “clutter” of ornate props. Also, as you will see in the last item of the book, I enjoy using a healthy amount of suggestion and with a slightly darker angle the effect of such suggestion can be very theatrical. The concept of “manipulation of a person’s mind or thoughts” is to me, and in my opinion to modern audiences, far more chilling than a fake skull with flashing eye sockets.

Allow me to outline this approach further. The above is said assuming you are not performing in the wondrous surroundings of your own “Haunted Chamber” or some such. In those cases, it is very possible to perform and achieve the very goal I wish to achieve employing all the paraphernalia of such a performance, skulls, dagger, altars etc.

I am approaching and developing material for the performer who is not afforded the luxury of such surroundings. In my opinion it would be highly unpractical for the performer hired to entertain in people’s homes, at for example a dinner party, to bring along his own surroundings needed to create the correct type of atmosphere that a “Haunted Chamber” instantly offers.

To my mind simply removing an old skull and an old book from within a weathered case does not have the same effect on the spectators within their own home that a creatively and artistically constructed “Haunted Chamber” has on its visitors.

effects...

...effects

section ten

page 60

1. ‘Divided by hate’

page 62

2. ‘Stigmata to go please’

page 68

3. ‘The kats kradle’

page 74

4. ‘The ernie ball book test’

page 81

5. ‘The ice man cometh’

page 86

6. ‘Stuck in a moment’

page 92

7. ‘A remote castle’

page 100

8. ‘Blind sentence’

page 110

9. ‘Personality projected’

page 116

10. ‘A safe anchor’

page 122

11. ‘Out of (t)his world

page 128

12. ‘A presentation’

page 136

13. ‘A strange garden’

page 140

14. ‘Judgemant day’

page 149

15. ‘Zeroing in’

page 158

From Luke

I personally strive for clean and simple methods to accomplish strikingly unconventional effects

Let us begin our journey with such an effect involving nothing more than a rose and some daring verbal deception and suggestions.

page 62

divided by hate...

Divided By Hate

Effect:

A rose is displayed and laid down on the table top. The performer begins to recount a tale of the delicacy of life, and how hate can divide and conquer all those around it.

The performer passes his hand above the rose, so as to cast a shadow over the bud.

The rose then begins to visibly die. The rose continues to die until nothing is left other than a shriveled and wilted dead flower. A lasting testament to the power of hatred and its ability to warp beauty.

Method:

This is an effect I have used in formal settings for a while now. The effect is larger than the sum of its parts. I have several versions and here I will outline the version I use more often than any other. This version is full of both physical suggestion as well as

psychological suggestions. As so often is the case with Bizarre Magick the presentation makes the effect. Do not sell it short. You will need to go get yourself a rose. Pick a few petals from the rose and place these in a refrigerator until they are needed in performance, thus ensuring they remain ‘alive’.

Simply leave the remaining rose petals and stem lying around. It will in a very short time die.

however, appear to pick two or three of the petals from the rose and hand them to a lady or casually drop them to the floor. There are several presentations open to you - plucking the petals is very reminiscent of “she loves me, she loves me not” and indeed forms the basis for one of the presentations detailed, but let’s not run away with ourselves just yet.

First let’s look at exactly how the effect is accomplished on a physical level. You will add the ‘alive’ petals to the dead rose, and simply lay them on top of the rose until the performance. It is possible to hide this rose within a bunch of roses, then when it is needed, pluck it from the bunch and continue. However, more often than not, I simply have this rose with the live petals resting on top of the dead ones, covering the majority of the dead petals awaiting me in my performance case.

In performance all that happens is very simple; you will actually appear to pluck a few petals from the rose while reciting the “she loves me, she loves me not” line, when in fact you are simply removing the few ‘alive’ petals.

This dead rose is then somewhat hastily placed onto the table, and you cast a shadow over the rose itself. This is an interesting point. The shadow actually helps to obscure the true state of events. To the audience a still living rose has been placed down onto the table after having a few petals torn from it.

The rest is down to the script and presentation.

You will use many suggestions to actually make some of the audience believe they can see the rose visibly ‘die’ on the table when you cast your shadow over it.

Script;

The words in bold are said with either a stronger or lighter tone to them, depending on what works better for your own performance. “Hate is a powerful emotion. Almost as powerful as Love.”

(Plucking petals, one for each “me”)

“She hates me, she hates me not, doesn’t really have the same ring to it does it?”

(Drop petals to the table)

“She loves me, she loves me not - ah much better.”

(Plucking the final two ‘live’ petals from the otherwise dead rose) “The only problem is Love and Hate are emotions that run closely alongside one another - both powerful emotions with the

possibility to warp and change people, lives, cultures and even beliefs. One alive and full of beauty, while the other sleeps lifeless and destroys all in its path. Hate can exist anywhere human life exists. It is how we deal with this powerful and destructive emotion that really tests us…”

(Place the rose onto the table. The bud of the rose has been held cradled in your palm during the above lines, helping to obscure the true ‘dead’ nature of the rose)

“She loves me, she loves me not, so often the case. But if Love has the power to heal, then Hate must be said to have the power to hurt.”

of physical effort suggesting something is about to happen)

“For hatred can make something so beautiful rot away until there is nothing of beauty left. Can you see that?”

(Inquire of a nearby spectator)

“You can see just how powerful Hate can be, destructive in itself and ultimately deadly. It can turn what was once beautiful into an ugly lifeless version of what existed when it was shadowed by Love. If you actually look closely you can see a once beautiful rose, becoming the ugly victim of hate.”

(Here I move my hands closer to the rose on the table)

“Something once shadowed by Love, but now replaced by Hate,

twisting and contorting, hatred draining away all the beauty

until...”

(Make a sharp shaking gesture with your outstretched palm down hand)

“Nothing of its former self exists.”

(Blow on the dead petals. They will now be seen to be dry and brittle. Remove your hand from shadowing the rose)

“Truly, Hate is a destructive emotion…” (Hand the dead rose to a spectator to finish)

Added Touches;

It is also possible to attach a length of Invisible Thread to the rose. With a simple movement it will then wiggle around on the table while your hand is above the rose. I use a length of thread running

from a shirt button to the rose. I attach the thread to the button simply with the use of Magicians Wax after removing the rose from my case. This little touch increases the visible quality of the effect and really does enhance the routine.

After the rose itself is shown to be dead, it is also possible to perform a simple shuttle pass with the four ‘alive’ petals on the table, switching them for four dead petals to finish. Personally I enjoy the contrast they offer between the dead rose and the ‘alive’ petals and do not switch them.

It is also interesting to note that a rose can house a “pocket of scent” much like the free samples that are given in many magazines. It is possible to simply apply a liberal amount of a pleasant scent to a petal, which is then placed directly in contact with another petal. I then place more of the scent on this new petal. This is continued until all the ‘alive’ petals are covered in a “rose” scent. The scent is momentary locked within the petals. I then apply a less pleasant scent (typically vinegar) to the rest of the dead rose.

This is a subtle change in scent and more often than not will not actually be noticed on a conscious level, but does add a little something to the death of the rose.

After reading ‘Divided By Hate ‘Kenton Knepper suggested the following:

“I might crumble the rose once it is dried at the end... While this does not allow the spectator to take home the dried rose, it's now a "hateful" rose anyway - so not a big loss, I think. Also, crumbling the rose makes the effect large enough for platform and stand-up shows - if not stage. The crumbling of dried rose visually is shocking, in my opinion at a larger distance.”

page 68

stigmata to go please...