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How to make a magic wand of tricks. How to make a magic wand for tricks

How to make a magic wand of tricks. How to make a magic wand for tricks

When a cane suddenly appears in the magician's hands. And most likely, you, like many others, were impressed by this trick. Today we are ready to reveal the secret of this famous trick. Everything is extremely simple. To learn how to do this trick, you will need sleight of hand and a magician's cane. Main secret lies in the design of the cane itself.

How does an emerging cane work?

The emerging cane is made according to the spiral principle. Metal plate collected in a spiral into a small device that fits in the palm of your hand. equipped with a lock that prevents it from opening in inopportune moment. When unfolded, it is a full-size metal cane. Lasting quality material and attention to detail in the construction of the props allow the canes to deploy in no time.

Magician's cane in use

To fully master the trick, you will need a little practice and an emerging magician's cane. When performing the trick, the main task is to quietly rearrange the latch that holds the device folded.

One deft movement of your hand and the amazed audience sees a real cane in your hand. The design is very simple and at first glance indistinguishable from a real cane. This trick is quite simple so that even a beginner can handle it, but it is so spectacular that all professional illusionists include this in their program.

If you get creative, you can come up with many impressive tricks with a cane and other props. For example, a silk scarf. Buy a magician's cane and you will feel like a real magician.

Peculiarities

  • The cane is made of durable stainless steel. Only high-quality processed material guarantees successful tricks and ease of use of props on stage;
  • When unfolded, the cane is no different from the natural one;
  • Both an amateur beginner and a professional artist can perform a trick with a cane.

Characteristics

  • Material: stainless steel;
  • Folded size: 6.3 x 2.3 cm;
  • Unassembled length x 100 m.

Tricks with a magic wand

(a regular black stick with sliding white paper tips).


A stick that doesn't fall.

Let the children hold your magic wand in their hands. If you are not a wizard, then, of course, it should fall from you. Then you take it in your hands, cast a spell properly, and... Oops! You unclench your hand, but it doesn’t fall, and it holds on so tightly!

Here's the secret... You can give them a try again - it's very funny to watch.

A stick that you insert into your leg with terrible agony and suffering.

Solemnly place your foot on a hill and... squeeze the stick into your foot with appropriate facial expressions.

Here's the secret... The children are amazed! And then, slowly - back.
In general, it is better to do magic tricks wearing long sleeves and very slowly.



Hat tricks
(with double bottom).

How to make a hat.
You need a large sheet of black Whatman paper. Make a cylinder, then a lid-top, as shown below, drawing a circle with chalk along the diameter of the cylinder and 2 cm larger for the bends. For the margins, again draw a circle in diameter, a circle 1 cm smaller than the diameter (for bends) and 5 cm larger. Cut out the margins along the last two lines and glue in the same way.

And here is the secret of the double bottom: a sort of butterfly the diameter of a hat with four wings - two circles glued together. Children will not pay any attention to any irregularities - folds at the bottom of the hat, especially since you need to show the “empty” hat in passing.

And then you can show the following tricks:

Collecting coins from thin air.

You take off your hat, demonstrate its emptiness, and place it in front of you. Then, with a slight wave of the hand, a coin (chocolate) appears in the hand from somewhere above. You importantly put it in your hat and suddenly see another coin in another corner: - grab it! - another coin collected! Put it in your hat. You can look somewhere together, in someone’s ear for example... Have fun, but don’t forget to put them in a hat, because... then you take out a whole bunch of coins and give them to the kids.

The secret is that you should always hold the coin in your hand (you can glue it to your fingers), and practice hiding it, smoothly “taking it out” and “putting it” in the hat, in which a whole arsenal of coins has long been hidden.

I was exposed in the very first seconds by one very smart girl, so the trick with the appearance of coins did not work out for me, but after doing a lot of magic on the hat (and pouring a bunch of coins out of the sleeve), to my complete amazement, I was able to treat the children with chocolate from the “empty” one. hats. I preferred pour coins out of sleeve, because I already had a tiny white rabbit (stuffed, of course) hidden in my hat. And of course, when I handed out the chocolate, we started to fishing a rabbit out of a hat. The magic words were “abra-kadabra”. At first I tried to do it alone: ​​you cast a spell, cast a spell, touch the hat with your wand,... pause, look into the hat - empty. The children are delighted! The magician didn’t succeed! I try again - the same result. More delight. Let's do it together then: loudly in chorus - “abra - kadabra”! Rabbit?.. rabbit?.. We conjured everything together about seven times, and when the little rabbit finally appeared, that was enough! (Parents later wondered why the children came from the matinee with the words “abra - kadabra”).

By the way, colored scarves that are pulled out one after another can also be hidden in such a hat, but I have not practiced this yet.

And finally - trick with glasses

It's almost a game of thimbles that attracts not only children, but also adults. Only in our case, the game is not a ball, but a mouse, which is always in the center, no matter how you move the glasses. (What a capricious mouse!). Try to move the glasses slowly so that children can keep track of where they think the mouse is.

The secret is simple: there are actually three mice. And each under its own glass. The only thing is How you raise your glasses. Make thick white or black cardboard circles slightly smaller than the diameter of the glass, glue the mice to them, and when you need to lift the empty glass, just squeeze it a little (it should be plastic or paper) and hold the circle.

And now - balls!

The balloon needs to be slightly underinflated. Leave a tail (about 10 cm).
Start with the knotted edge. Everything is achieved by twisting and twisting.
Use a marker to draw eyes, antennae, etc.

Here are the possible options:

That's all!

6. Floating egg.
Show the children two identical jars filled with water and two hard-boiled eggs. Invite the children to place one egg in a jar of water. It will sink. And “bewitch” the second egg and drop it into the second jar. It will float. Invite the children to exchange eggs. The result will be the same. Their egg will sink, but yours will not.
The secret of the trick: in one jar plain water, and in the second - a concentrated salt solution. This is what keeps the egg afloat.

7. Colored water.
The magician shows three jars of water, covered with lids(twirling). He points out that the jars contain ordinary water, then says the magic words:

* * *

You, water-water, you are my cold friend,

Become, O water, not light, but green.

* * *

You, water-water, you are my beautiful friend,

Become, O water, not simple, but red.

* * *

You, water-water, as bright as frost,

Become, water-water, not simple, but blue!

* * *
The magician shakes the water in the jar, the water turns the desired color.
The secret of the trick: inner side The lids are covered with watercolor paint (red, green, blue). Water is poured into jars in advance.

8. Magic coin.
The magician asks the child to pick up one of the five coins, squeeze it in his hand, hold it, then put it on the table. The magician mixes them and finds the right one.
The secret of the trick: the coin you held in your hands is warmer than the others.

9. Miracle boxes.
The magician pulls out the case halfway Matchbox and shows it to the audience. He turns the box upside down and slowly moves it back. Here the box is shown from the other side of the case, but again bottom down! You can repeat it again, the effect is the same.
The secret of the trick: the box is cut into two equal parts. Turn one of them bottom down and the other bottom up. In this position, both parts are glued together with a thin strip of paper (this is not visible in the case). Now, no matter how many times the trick is repeated, the box will always turn over.

1. Comic trick with slippers.

The clown brings out a paper bundle. Unties him. He takes out a clean rug from the package. He shows it to the audience from all sides: nothing is hidden in it. Spreads it on the floor. Still holding the rug with his hands by the edge, he pulls off the slippers with one foot from the other and covers them with the rug. Makes “magic passes” in the air with his hands. He lifts the rug and points to the shoes that appeared “from nowhere.” Blows a kiss to the audience. He bows solemnly in all directions. And he doesn’t notice that his slippers “by themselves” (they are pulled by strings) are quickly “leaving” from the stage. Having finished bowing, the clown looks for his slippers with his eyes. They are nowhere to be found! Covering his feet with a rug, he trotts off the stage in embarrassment. And at the same time he still tries to smile.

I, of course, simplified the proposed option. There was no paper bundle, there was a baby blanket folded in four. I spread it out, covering my feet and, when I was making passes, I quietly got out of my slippers, and they left almost immediately after the rug was lifted. I followed them with my head and shoulders down. Our friend’s dad had the most lively reaction; he asked in surprise: “How is this?”


2. Endless thread.

(This trick was transferred to M.A. Mikhailova’s book from A. Akopyan’s book “50 Entertaining Tricks.” M.: Iskusstvo, 1964)

The magician notices a white thread on his jacket, near the lapel, and tries to brush it off several times. But the thread does not “blow away”. The magician takes its end and pulls it down. The thread begins to pull out of the jacket. The more she stretches out, the more surprised the magician is. And the length of the thread is several tens of meters! Mechanics of the trick: a white thread from a spool is wound onto a short colored pencil (as much as it can be wound), placed in a side inner pocket and its tail (1-2cm) is pulled with a needle through the fabric of the jacket to the outside. The pencil is needed so that “there are no traces left” in the pocket if one of the spectators asks the magician to show his pocket; a pencil is not a reel; it will not help solve this trick.

I did this trick less emotionally, and we asked the children to swipe and remove the thread. The problem was that the child recognized me in the image, and when I gasped at the moment of pulling the thread, my daughter got scared: I’m a strict mother, she thought that I had ruined something. A year later, the same trick went off with a bang, but everyone wanted to try it, and there were only two threads.


3. Glass on paper.

Place two glasses on the table at some distance from one another (the glasses should not be heavy). Give the audience a piece of paper and ask them to place a third glass on top of the paper placed on the glasses. No one will believe that a thin piece of paper can withstand the weight of a glass placed on it. To do this trick, you need to fold a sheet of paper like an accordion (along the long side), and the glass will stand.

This number failed for us, the glasses were plastic and the paper held them without any additional effort. Parents got involved at the third focus, probably too early for children. Then we entertained our parents and grandmothers for another ten minutes.


Series of messages " ":
tricks, holidays
Part 1 - Tricks

The ring slowly rises up the Stick!

The thread is attached to one end of the stick. Place the ring on the end of the stick to which the thread is attached. Now, when you quietly pull the thread, the ring will begin to rise up the Stick.

Focus 2:

You pull the Magic Wand out of a small wallet!

For this trick you will need your Magic Wand and an Old Wallet.

Before the show:

1.Ask an adult to cut a small hole in the bottom of the wallet.

2.Hide the wand in your left sleeve.

During the show: Take your wallet to left hand, and with your right hand, through the hole in the bottom of the wallet, pull the Wand out of your sleeve!

Focus 3:

The rope, wrapped around the Stick and threaded through the ring, is removed from the Stick, although the ring still remains on the rope.

For this trick you will need a Magic Wand, rope and a ring. Wrap the rope around the Stick three times, then close the Stick with your finger, then wrap the string in the opposite direction three times. Your finger will not allow the rope to slip!

Try to make sure that both ends of the rope hang down approximately the same length. Now ask the spectator to put a ring on the rope and tie the ends together. Then ask the spectator to pull the rope straight down. The rope will slip past your finger and fall down!

Focus 4:

Use the watch and the stick to find the selected number.

For this trick you will need your Magic Wand and your wrist or Wall Clock. Draw the audience's attention to the wall clock and ask any of them to think of any number from 1 to 12.

Tap the stick on the numbers on the dial. At the same time, the spectator must count one for each blow, starting from the number following the intended one. For example, if the viewer thinks of the number 7, then he should start counting from the eighth beat and so on until 20.

You make the first 7 strikes on any numbers on the dial. On the eighth beat, hit the number 12, and then continue to hit each number, moving counterclockwise (to the left). When the viewer has counted

to 20, your Wand will be on the number he chose!

Focus 5:

The ball rolls along the stick without falling off it.

For this trick you will need a Magic Wand, a Thin Thread and some kind of Ball.

The thread must be attached to one end of the stick.

Hold the other end of the Thread with your fingers so that it is “next to” but “behind” the Stick. Thus, the Stick makes Thread invisible to the Spectators!

Now place the Ball on the Stick so that it is held by the taut Thread. Now you can roll the Ball along the Stick in any direction, without the spectators noticing, moving the Thread closer and further from the Stick.

Focus 6:

You wrap the Stick in newspaper and then tear the newspaper and Stick into small pieces. And then your Wand becomes whole again!

For this trick you will need your Magic Wand, a piece of newspaper and a Homemade Wand. Before the performance, make a paper copy of the Magic Wand. To do this, paint the middle part of a sheet of paper black, then roll the sheet into a tube and glue it together.

The more authentic your Double Wand looks, the more effective the trick will be.

Wrap up during the show

Double Stick into the newspaper, and then tear the newspaper with the Stick inside. It should look as if the Stick has disappeared, torn.

To make the Wand appear again, you can take it out of your sleeve.

Focus 7:

"Reverse Loops" (second option)

The spectator pulls the rope straight through the Stick.

Instead of using the ring, this time ask spectator hold the rope by the ends and - pull!

Focus 8:

The wand rises out of the bottle in an incredible way.

Before performing the trick, attach a very thin thread to one end of the Magic Wand. Attach the other end of the thread to a button on your clothing. Show that the bottle is empty and ordinary. Now lower the stick into the bottle with the end where the thread is attached. And using magical passes, lift the Wand from the bottle.

Focus 9:

You place the Magic Wand on the table and every time you pass your hand over it, it moves.

Every time you pass your hand over the Stick, at the same time blow on it in the direction of your hand movement. Blow unnoticed by the audience, for example - open your mouth slightly and exhale without straining your lips and other facial muscles, and the Wand will begin to move as if by the will of the Magical Energy emanating from your palm.

Advice from the Focus Store.Org:

This trick looks great at a party or over a milkshake when you use a regular Cocktail Straw instead of a Stick.

Focus 10:

Your hard, wooden Magic Wand, on command, turns into rubber, gaining illusory flexibility.

Hold the stick horizontally between your thumb and index finger. Lightly hold the Stick by one end and swing your whole hand up and down.

With your swings you must achieve an optical illusion, even for yourself, that the Wand has acquired “rubber” flexibility and “went in waves” from your movements.

Focus 11:

To show that you have magical powers, you make the Magic Wand float in the air.

Wrap your left hand around your right hand so that you can hold the Wand against the palm of your left hand using the index finger of your right hand, as shown in the picture.

Focus 12:

"Flying Stick" (second option)

This is a variation of the previous trick. The Magic Wand floats in the air between your hands.

Interlace your fingers as shown in the picture so that the index finger of your right hand is on top. Now you can discreetly hold the Wand with the index finger of your left hand. From the front, this illusion seems very impressive, unless the audience starts counting your fingers.

After checking that everything is in order, the artist can begin demonstrating the trick. He approaches the first table, lifts the case and shows the bottle to the audience (Fig. 17). Then the artist, having covered the bottle with a case, approaches the second table and, tightly grasping the case with his fingers, removes it along with the bottle. The audience sees that under the case on the second table there is a glass of water. When the magician does this the second time, on the first table he lifts the case with the bottle and shows the audience the glass, and on the second table he lifts only the case, and the audience sees the bottle (Fig. 18).

"MAGIC WAND

The so-called “magic” wand is an essential auxiliary prop for a magician. It came from ancient fairy tales - wizards in fairy tales often performed their “miracles” with the help of “magic” wands. The presence of a “magic” wand helps the artist when demonstrating tricks.
To somehow justify its appearance, the performer can perform the following trick, which will convince the audience that the wand is truly “magic.”
The performer approaches the illusion table and takes a small stick lying on it. Outwardly, the wand looks ordinary, and, of course, none of the spectators will believe that it is “magical.” But suddenly the wand in the artist’s hand began to creep upward. The audience is surprised: the wand literally tears out of the performer’s hand and quickly flies into the air. Yes, it seems that the wand really is “magic”.


The main prop of this trick is a wand. It's not difficult to make. The stick should be wooden, about 20-25 long cm and diameter 1-1.5 cm(Fig. 19). In the middle of the stick you need to drill a hole with a diameter of 0.5-0.7 cm. Then the stick should be coated with black ink or varnish of the same color. The ends of the stick should be painted with white paint to make it more beautiful. Then select two buttons of the same diameter as the stick. Buttons must certainly have seals.

In addition to the items listed, you will also need a piece of nipple elastic, the length of which should be equal to the length of the stick.
Preparation of the trick is as follows: an elastic band is pushed through the stick, buttons are attached to its ends, so that the elastic band is slightly taut (see Fig. 19). At the top point, the button should be firmly secured and carefully disguised.
When demonstrating a trick, the wand must be held in right hand and, holding it vertically, imperceptibly pull the elastic band behind the bottom button about three-quarters of the length of the stick. Naturally, the hand must be held so that the rubber band is not visible to the audience.
The button should be pressed with your thumb (Fig. 20). During the demonstration of the trick, the artist should stand half-turned to the audience, trying not to turn his back to them, so as not to cause mistrust in himself.

To demonstrate the “magic” actions of the wand, which the performer holds before starting the trick as shown in Fig. 21, it is enough to release it slightly, and it will freely crawl up. If you quickly open your palm, the stick will quickly fly into the air (Fig. 22). This trick is recommended to be shown, among other things, to justify the name of the wand - “magic”.

SECOND OPTION OF THE “MAGIC” WAND

From different options Using tricks with a “magic” wand, you can create a program for performing on the stage. We offer a second version of the “magic” wand, a trick with which can become an independent program number.
The performer takes a piece of paper from the illusion table, torn from an ordinary notebook, and rolls a pound out of it (Fig. 23). Then the artist pretends that, supposedly trying to be unnoticed by the audience, he takes something out of his pocket and puts it in the pound. The audience, of course, notices this and does not believe the artist’s words when he says that the pound is completely empty. Spectators ask to unwrap the pound. The artist fulfills their request, holding one hand clenched into a fist. Now the audience sees an empty pound, and their suspicions fall on the performer’s clenched fist. Then the magician has to show what is hidden in the fist. Again pretending that he has transferred something from this hand to the other, the performer shows the one that was clenched into a fist. There is nothing in the hand. The audience is completely intrigued. Finally, the artist reassures the audience by showing that he has nothing in the pound or in his hands.

After this, the performer rolls up the pound again. Holding it in his hand, he shows the audience that the pound is empty and he also has nothing in his hands. Then the artist takes his “magic” wand from the table, stirs it in an empty pound, and then allows the audience to examine the wand. The audience is convinced that the wand is an ordinary one, does not hide any secrets, and returns it to the performer.
Now the magician takes out a small bright handkerchief from his pocket and puts it in the pound, trying to push the handkerchief to the very bottom of the pound with his wand. Unfolding the pound, the performer shows that the handkerchief has disappeared without a trace. Having thrown away the piece of paper, the artist again allows the audience to examine his “magic” wand. And the handkerchief, which mysteriously disappeared from the pound, suddenly appears in the performer’s hand. Having shown it to the audience, the artist pushes it into his fist. Then he takes the wand from the audience, lightly touches it to the fist in which the handkerchief is hidden, and a “miracle” occurs: the performer unclenches his fist, and the audience sees an empty palm.

Secret, props and trick demonstration
The main prop of this trick is also a wand; its size is the same as the size of the stick in the previous trick, that is, 20-25 cm. But this stick should be conical in shape, like a drum stick or a pointer. Such a wooden wand becomes “magic” because a metal tip or cylinder is placed on its thickened end (let’s agree to call this end of the wand the front end). This is the secret of the trick.
An ordinary tin sleeve can serve as a tip (Fig. 24). If a cartridge case from a hunting cartridge is used, then the stick should be cylindrical. But it is best to make a conical stick and make a cone-shaped sleeve for it. It can be soldered from tin from an ordinary tin can. The sleeve should fit tightly onto the stick. When the stick and sleeve are ready, they must be painted black, and first paint over the entire stick, and then the sleeve. When the paint dries, the tip can be put on the stick.

Now about demonstrating the trick. First, the performer plays a prank on the audience, and then takes a pound stick in his left hand (bottom up) and a stick in his right hand (see Fig. 24). The artist inserts the stick with the front end into the pound, showing the audience that it is empty. Having turned the pound bottom down (Fig. 25), the performer squeezes it with the thumb and forefinger of his left hand.

Having “stirred” the wand in the pound, the magician places it under the armpit of his left hand. While stirring, the tip of the stick should be left in the pound. Now the performer needs to take the handkerchief, put it in the pound and push it with the pointed side of the stick into the sleeve located in the pound (Fig. 26). After this, the sleeve should be put on the stick again in the same place, inside the pound (see Fig. 26) and the stick should be placed again under the armpit (this is the most convenient and visible place). Now the pound is empty, it can be unfolded and shown to the audience. The piece of paper from which the pound was made can also be given to one of the spectators for inspection.

Next, the performer again takes the wand with his right hand, and with his left hand he quietly removes the sleeve, leaving it in his left hand, and with his right hand he places the wand on the illusion table. After this, the artist calmly pulls the handkerchief out of the sleeve with his right hand, leaving it unnoticeable in his left hand. Now he can go to the table for his “magic” wand, take it with his left hand and at that moment put the sleeve on the wand, which was in his left hand. This must be done instantly and, of course, unnoticeably. Every move an artist makes must be justified, otherwise he will be exposed.
You can end the act by showing the audience the handkerchief that appears. Then you need to put it on the table, show the audience both hands, alternately touching your palms with a stick, and place the stick next to the handkerchief on the table.
You can demonstrate this trick this way. Having shown the handkerchief to the audience, the artist places it in his left hand (there is a cartridge case) and begins to push it into his fist with the index finger of his right hand (Fig. 27).

In reality, the handkerchief is pushed into the sleeve (Fig. 28). As soon as the handkerchief is completely hidden in it, the artist takes a “magic” wand from the table and inserts it into the fist with the front end. The sleeve will fit on it without difficulty. Now the performer can safely unclench his fist and run the wand over his empty palm, confirming the fact that the handkerchief has disappeared (Fig. 29).


“MAGIC” ROPE

Among the magician's props on his table lies an ordinary rope, which is often needed in household use. The performer approaches the table, takes this rope and shows it to the audience. “An ordinary rope,” the viewer thinks. And indeed, the artist confirms this by tying it in a knot, then folding it in half with a rope (Fig. 30).


But once the rope appears in the hands of the magician, then we must wait for a miracle. And the audience carefully watches what is happening, and the rope in the performer’s hand suddenly stretches into a string and freezes in a vertical position (Fig. 31). Then the artist touches the middle of the piece of extraordinary rope with his finger, and it turns into the letter “G” (see Fig. 31). As the performer touches this rope, it obediently draws out various figures.

After making several shapes, the rope regains its previous appearance. The performer finishes the demonstration of the trick and places the rope on the illusion table.

Secret, props and trick demonstration
Transforming a rope seems like a miracle until you know the secret of this trick. But even after learning the secret, the trick cannot be immediately shown to the audience. It requires careful development. We draw the attention of readers to the last word, because hard work comes first in the work of a magician.
For this number you will need a piece of twisted (round) clothesline with a length of 100 cm, fishing line with a diameter of 0.2 cm and length 101 cm and several dozen cylinders of 1.5-2 cm length and diameter by 0.1 cm less than the diameter of the rope.
First of all, you should free the piece of rope from the internal threads. In other words, you need to pull out all the internal threads that fill the round rope.
After such an operation, all that will remain of the previous rope is its upper cover, or “stocking,” with through hole along the entire length. Now we need to prepare several dozen cylinders from aluminum, plastic or wood (Fig. 32). The cylinders are strung onto a piece of fishing line so that 1 piece is left free at both ends of the fishing line. cm(see figure, 32).

Then you need to pull a rope cover over these unique beads. Now the rope again takes on the appearance of a real one, but with the difference that inside it there are cylinders instead of threads. They will form the basis of the rope. The cylinders inside the sheath must be at a certain distance from each other so that the rope can be freely tied into a knot and twisted with a rope, like an ordinary one. The upper end of the rope must be secured tightly, that is, the fishing line and the cover must be fastened so that they hold very firmly. The other end of the fishing line is tied to a button white with a metal ear with a diameter slightly larger than the diameter of the cylinders (see Fig. 32). The button should not slip inside the case when the fishing line is pulled.
After the audience is convinced that the performer is holding an ordinary rope in his hands, you can proceed to the performance. The artist takes in his hand the end of the rope to which the button is attached. Holding the button between the little and ring (or middle) fingers, the performer tightens the line by sliding the thumb and forefinger along it. This movement of the fingers will press the cylinders tightly together, and the rope will freeze in a vertical position (Fig. 33).

To depict the shape of the letter “G” with a rope, the performer just needs to touch it just above the middle with his index finger free hand(conditionally right), and with the left, loosen the tension of the fishing line. The cylinders at the point of contact will separate and the upper part of the rope will lower, depicting the desired figure.

"MAGIC" WHISTLE

The performer goes into the auditorium and asks the audience to give him a pencil. Having received the pencil, he returns to the stage, takes a whistle from his desk and, raising it to his mouth, whistles. Then the artist, taking a small piece of thread, ties a whistle to one end and a pencil to the other (Fig. 34). Now the whistle hangs in the air, dangling loosely on a thread. At the request of the audience, the whistle begins to blow, although it still hangs on a thread and the artist does not touch it. The performer demonstrates a trick by descending into the auditorium. Showing a magic trick directly in the auditorium arouses increased interest among the audience and enhances the effect of the magic trick.

Secret, props and trick demonstration
The props of this trick are, first of all, a whistle, which the performer shows to the audience, then a second, secret whistle, which will produce the whistle at the right moment. In addition, you will need a piece of rubber tube and a rubber bulb. These items can be purchased at any pharmacy.

One end of the rubber tube is placed on the lip of the whistle, and the other on the rubber bulb (Fig. 35). The length of this device must correspond to the length of the performer’s jacket sleeve, inside which it will be hidden. Rubber tube located along the sleeve towards the shoulder, the rubber bulb is placed under the armpit, and the whistle should be approximately at the level of the cuff (Fig. 36).


So, in the artist’s left sleeve is a secret trick device, in his right hand is a whistle suspended from a pencil. In accordance with the desire of the audience to hear the sound of the whistle hanging on the pencil, the performer squeezes the pear under his arm and the whistle whistles.

HOW TO GET A LIT CANDLE FROM YOUR POCKET

The effect of this trick is that the performer takes out a burning candle from his jacket pocket.

Secret, props and trick demonstration
The main props for this trick is the usual stearic candle. It must be lit for a short period of time so that the initial part of the wick burns and the head of the candle becomes soft. Then the candle should be extinguished and three matches, sulfur heads up, should be inserted halfway into the softened part (Fig. 37). These matches form an artificial wick.

In addition, for the trick you will need a board or piece of cardboard measuring 9 X 12 cm from a thin layer of sulfur applied to it. You can easily make such a board yourself by gluing it onto cardboard. the right size several strips of sulfur separated from matchboxes(Fig. 38).

The cardboard covered with sulfur and the candle should be placed in the side pocket of the jacket so that the wick of the candle is directed towards the bottom of the pocket, and the sulfur side of the board faces the candle (Fig. 39).

At the moment when the performer takes the candle out of his pocket, he will pass the match wick across the plate, and he will have a burning candle in his hands (Fig. 40).

AN EXTRAORDINARY BOTTLE

On the performer’s illusion table there is a bottle of lemonade and two wine glasses. The artist takes the bottle and fills both glasses with lemonade (Fig. 41). Suddenly, a colored ribbon appears from the bottle, and the magician begins to pull it out. The tape seems to have no end (Fig. 42).

But then the flow of colored ribbon stopped, and the artist again filled the glasses with sparkling lemonade, which was still left in the bottle.

Secret, props and trick demonstration
The secret of this trick lies in the design of the bottle. This bottle is double. It can be made by any glassblower if he is provided with the appropriate drawing, or by a tinsmith who can make such a bottle from tin (Fig. 43).

Having become acquainted with Fig. 43, A, you will understand the structure of this bottle. The inner bottle should, naturally, be smaller in diameter than the outer one. There should be a gap of 0.5 between bottles cm. This gap is filled with fruit water or tea. And carefully push a ribbon 10-12 long into the middle of the inner bottle with a pencil. m(Fig. 43, b). For greater effect, the tape should be made up of several pieces of tape. different colors 2-3 each m every.
The tape is placed in the bottle so that the performer can easily reach it with two fingers at the right moment.
When filling wine glasses, the bottle should be held so that spectators cannot see the neck. It should be directed towards the side curtain.
And one more very important detail: do not forget to paint the bottle that the master will make in the same color as a real lemonade bottle. In addition, it must be properly decorated externally - wrap the neck with silver paper and attach the desired label. The more natural the bottle is designed, the less suspicion it will arouse among viewers.

MIRACLE BOTTLE

We deliberately give several tricks with a bottle, since this prop is small in size and easy to make.
On the performer's illusion table stands regular bottle champagne and glass. The artist takes the bottle, fills the glass and drinks the drink with pleasure (Fig. 44).


The performer then wraps the bottle in newspaper. Spectators watch with interest what will happen to this bottle. It was not without reason that the magician wrapped it in newspaper. And indeed, to the surprise of the audience, the artist begins to pull colorful silk scarves one after another from this bottle, wrapped in newspaper (Fig. 45).

Having pulled out the last handkerchief (and he pulled out quite a lot of them), the performer suddenly energetically crumples up the newspaper along with the bottle and throws aside the loose lump of newspaper that he no longer needs (Fig. 46).

Secret, props and trick demonstration
The bottle for this trick is made of paper. Appearance it should match a real champagne bottle.
This bottle is made from black glossy paper, which can be purchased at any stationery store. It needs to be glued together from two components- this will make it easier to make the bottle (Fig. 47).

When both parts of the bottle are ready, place the second inner neck inside its upper part in the neck area. This neck is glued together from photographic film rolled into a tube. The upper part of the tube remains free, and a regular nipple is put on the lower part (Fig. 48, a). The diameter of this tube should be slightly smaller than the diameter of the bottle neck. And the capacity of the tube should hold about a glass of water. To prevent this inner neck from dangling inside the bottle and falling to the bottom, it must be secured with an internal bottom, which is cut out and placed on the tube close to the nipple (Fig. 48, b). Now the tube can be placed at the top of the bottle so that the edge of the inner neck is 1-1.2 cm below the neck of the bottle, and the inner bottom fits tightly to the inside of the upper half of the bottle (Fig. 48, c).

Then you need to trim the edges of the upper half of the bottle with teeth so that when gluing the parts of the bottle there are no folds and wrinkles, and fasten both halves of the bottle. When the bottle is ready and equipped with all the necessary external decorations (label, silver paper), enter the lower part from the side Several colorful silk scarves are pushed into the bottom.After this, you need to cut out the bottom from thin cardboard and push it slightly inside the bottle (Fig. 49).


Just before the performance in top part The desired drink is poured into the bottle (Fig. 50). Now the bottle can be placed together with the glass on the illusion table.

Focus demonstration occurs in the following way. The performer pours the contents of the bottle into a glass and drinks it. He then wraps the bottle in newspaper and turns it upside down without the audience noticing. The bottom of the bottle opens easily. The artist pulls out the scarves in the bottle one after another. As soon as the last scarf is taken out, the magician can safely crumple up the newspaper along with the bottle in his hands and throw this lump into the corner of the stage - there will be no fragments from such a “bottle”.
The disadvantage of this trick is that the bottle must be made for each performance. Therefore, we recommend preparing several bottles at once, approximately ten to fifteen performances ahead.

AMAZING RINGS

At the request of the performer, one of the spectators comes on stage as an assistant. This is a complete stranger to the magician. If one of the spectators assists the artist in demonstrating a trick, then the audience naturally develops greater confidence in the performer and the effect of the trick is enhanced. Demonstration of such tricks enlivens the audience and increases their interest in the artist’s performance.
So, having invited an assistant from among the audience onto the stage, the artist asks him to tightly tie the thumbs of both hands with a bow (Fig. 51).

Tying your fingers is a simple matter. When the artist's fingers are securely tied with a strong and durable rope, he asks his assistant to take metal rings from the illusion table. Then, moving away from the assistant to the other end of the stage, the performer asks him to throw one ring into his hands. The ring thrown by the assistant miraculously passes through the performer’s tied fingers in an instant and is put on like a bracelet on the right hand (Fig. 52).

One by one, the assistant throws all five rings, and they, having overcome the barrier of closely connected fingers, find themselves strung on the performer’s hand (Fig. 53). And the thumbs of both hands of the artist still remain tightly tied. The assistant is at a loss. After all, this miracle happened before his eyes and he directly participated in the demonstration of the trick. At the request of the artist, a somewhat embarrassed assistant has difficulty untying the rope and freeing the performer's fingers.

Secret, props and trick demonstration
All the props for this trick are five rings with a diameter of 20-25 cm and a small piece of rope. The secret is in the unusual position of the fingers at the moment of tying them. Take a close look at the fig. 54. You see that the performer, having folded his hands before allowing the thumbs to be tied, leaves the middle finger of his right hand inside between the palms in a bent position. Having done this, the artist can calmly allow the thumbs of both hands to be tied (Fig. 55), but even in this position of the hands, it is, of course, impossible to pass the ring between the tied fingers. But the position of the tied fingers can be easily changed and one of them can be released to allow the ring to pass through. This is done as follows. When the performer convinces the assistant and the audience that his fingers are tightly tied, he can go to the opposite corner of the stage (in relation to the audience, the artist should stand on his right side). While the magician is instructing the assistant on how to throw the rings, he must prepare his hands to receive the rings.

To free his hands, he needs to stretch up the fingers of both hands, with their palms facing each other (see Fig. 55).

The artist will immediately feel that his thumbs are connected somewhat looser. This was facilitated by the position of the middle finger of the right hand, which was located between the palms.
At the request of the performer, the assistant throws the ring. Almost simultaneously with this movement of the assistant, the performer turns his thumbs so that they are one above the other (right over left, see Fig. 55). The loop connecting the fingers becomes free, and this allows the artist to quickly release the right finger, pass the ring and put it on the right hand (Fig. 56).

As soon as the ring passes through the “tied” fingers, the performer must quickly insert the finger back into the loop. This movement must be done as many times as the number of rings the assistant will throw. The trick requires long training, since its execution requires impeccable purity and dexterity of movements, without which success cannot be achieved.

This spectacular trick can be an independent number in the program.

External effect. During the performance, the magician repeatedly uses his “magic” wand as a distraction. He emphasizes to the audience that she is the most ordinary, simple, not prepared in any way. For example, he knocks with it on a glass standing on the table, and the audience clearly distinguishes the sound of wood hitting glass. Then he wraps the stick in a sheet of paper (Fig. 33, A And B) and taps the glass again with it, after which he quickly, with a sharp movement, tears the wrapped stick in half (Fig. IN). Taking both halves in the palm of your hand, he crumples them (Fig. G) and throws the paper backstage (Fig. D). The wand disappears.

Props. Imitation of a "magic" wand made of paper.

A small sheet of paper.

Secret consists of a false stick made of paper. After gluing it, it is painted in exactly the same way as the real thing.

Small wooden plugs are inserted into the false wand at both ends, with which the magician knocks on the glass. To make the sound sharp, like from wood, the paper is exposed in some places, and the cork wood is carefully painted over.

A false stick is placed on the table under the cover of some object or in the inner pocket of a suit, where the real one is also placed. Instead, at the right moment, the magician takes out a false wand, with which he performs the trick just described.

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