When you dive into the world of magic and start learning how to perform this or that magic trick, it
When you dive into the world of magic and start learning how to perform this or that magic trick, it seems as though it is never going to end. Chances are that you will never get to learn all the secrets for the ample range of tricks developed by magicia all over the world. Yet no one expects you to know each tiny detail related to all the magic in the world. On the contrary, when you put on a show, people expect you to come with a ecific program of well-performed tricks. Indeed, it is preferable to adjust your tricks to various audiences, thus never risking performing the same program in front of a public who might have witne ed some of your ecials in several of your previous shows. This is why variety is important. On the other hand, many magicia are famous precisely because of a number of their ecific tricks. If you are skilled enough, you can co truct your show having as a basis your well-known tricks and you will never bore your public because you know to handle the entire program in such an entertaining ma er that they simply ca ot get enough of you.
One way to bring some ice to a routine program is to introduce small tricks to involve your audience. Thus, a positively a reciated card trick is the one in which you will pretend that the cards will whi er something in your ear. You will only need a deck of cards. This is how the card trick will a ear to the outside watcher. You ask for a volunteer from the audience. Then you mix up the deck of cards for a while, up until the moment the ectator asks you to stop. Then you stop and remove the u er part of the deck of cards. A ectator takes the card; you tell him or her to memorize it (number and suit). Then the ectator puts the card back in the deck. You re-a emble the deck and mix it up near your year. You tell them that the deck whi ered what the card was.
This card trick is more difficult to perform, but the whi ering element is what stre es its nature of a genuine magic trick. How can you organize such a part of your show? First, you need to make an adequate introduction. A small, humorous eech or one in which you underline the mystery and charm behind your cards will most likely make one of the best a roaches. For i tance, you could say that you and your deck of cards have built such a strong co ection that they have recently started sharing you some of the privileged, secret information known only by them. Now, carefully, using misdirection, look at the card at the top of the deck. You will efficiently use misdirection of your audience if you keep on talking to them and maintain their interest engaged in the entertaining things you are saying. Misdirection is valuable for other types of tricks too; it does not exclusively a ly to this particular card trick.
The most efficient way to look at the top card is during your shuffling of the deck. With your left hand, take the deck of cards. The thumb is on the right and the four fingers on the left. Then take it with your right hand, while the thumb is on top of the deck and the fingers on its bottom. This is the point where you start riffling the deck your thumb is still on top of the deck and ask the volunteer to tell you when to stop. When the ectator tells you to stop, you separate the top part of the deck. With your thumb on top, you bring the top card to the bottom part of the deck. Then the ectator will pick up the card. You will tell him or her to memorize it and then let it back in the deck. Then you riffle the cards near your year and they will whi er you the secret. Do not forget to play the magic trick to the end: describe gradually to your audience, in a ma er as humorous and witty as po ible, that your cards want to share something to you. Then, when you finally reveal the secret, make sure you ask for the confirmation of your volunteer. In this ma er, your magic trick will become more plausible.
In the end, this card trick will most likely require several months of practice. You have to train your eyes, your hands and your eech ability. The presentation is very significant. You will be able to employ misdirection principles only by mea of your presentation. This ha e with the majority of the magic performances. In addition, the same as it ha e with most of the tricks with cards, the sleight of hand is e ential. You will have to memorize each of the moves in the sleight of hand we have described previously. Your hands are fundamental for any trick you are performing. Finally, remember to maintain your confidence. If anything should go wrong on the stage or amidst your ectators, there is no need to make your distre visible. In fact, you should maintain a positive attitude and a co tant smile. Your attitude is your number one ally in the succe ful performance of any tricks, no matter the degree of their sophistication.
One way to bring some ice to a routine program is to introduce small tricks to involve your audience. Thus, a positively a reciated card trick is the one in which you will pretend that the cards will whi er something in your ear. You will only need a deck of cards. This is how the card trick will a ear to the outside watcher. You ask for a volunteer from the audience. Then you mix up the deck of cards for a while, up until the moment the ectator asks you to stop. Then you stop and remove the u er part of the deck of cards. A ectator takes the card; you tell him or her to memorize it (number and suit). Then the ectator puts the card back in the deck. You re-a emble the deck and mix it up near your year. You tell them that the deck whi ered what the card was.
This card trick is more difficult to perform, but the whi ering element is what stre es its nature of a genuine magic trick. How can you organize such a part of your show? First, you need to make an adequate introduction. A small, humorous eech or one in which you underline the mystery and charm behind your cards will most likely make one of the best a roaches. For i tance, you could say that you and your deck of cards have built such a strong co ection that they have recently started sharing you some of the privileged, secret information known only by them. Now, carefully, using misdirection, look at the card at the top of the deck. You will efficiently use misdirection of your audience if you keep on talking to them and maintain their interest engaged in the entertaining things you are saying. Misdirection is valuable for other types of tricks too; it does not exclusively a ly to this particular card trick.
The most efficient way to look at the top card is during your shuffling of the deck. With your left hand, take the deck of cards. The thumb is on the right and the four fingers on the left. Then take it with your right hand, while the thumb is on top of the deck and the fingers on its bottom. This is the point where you start riffling the deck your thumb is still on top of the deck and ask the volunteer to tell you when to stop. When the ectator tells you to stop, you separate the top part of the deck. With your thumb on top, you bring the top card to the bottom part of the deck. Then the ectator will pick up the card. You will tell him or her to memorize it and then let it back in the deck. Then you riffle the cards near your year and they will whi er you the secret. Do not forget to play the magic trick to the end: describe gradually to your audience, in a ma er as humorous and witty as po ible, that your cards want to share something to you. Then, when you finally reveal the secret, make sure you ask for the confirmation of your volunteer. In this ma er, your magic trick will become more plausible.
In the end, this card trick will most likely require several months of practice. You have to train your eyes, your hands and your eech ability. The presentation is very significant. You will be able to employ misdirection principles only by mea of your presentation. This ha e with the majority of the magic performances. In addition, the same as it ha e with most of the tricks with cards, the sleight of hand is e ential. You will have to memorize each of the moves in the sleight of hand we have described previously. Your hands are fundamental for any trick you are performing. Finally, remember to maintain your confidence. If anything should go wrong on the stage or amidst your ectators, there is no need to make your distre visible. In fact, you should maintain a positive attitude and a co tant smile. Your attitude is your number one ally in the succe ful performance of any tricks, no matter the degree of their sophistication.
