I. Tricks with a "magic" wand. how to make a magic wand how to make a magic wand
The Ring is slowly moving up the Wand!
The thread is attached to one end of the stick. Place the ring on the end of the Stick where the thread is attached. Now, when you quietly pull the thread, the ring will begin to climb up the Wand.
Focus 2:
You draw a Magic Wand from a small purse!
For this trick, you will need your Magic Wand and an Old Purse.
Before the show:
1. Have an adult cut a small hole in the bottom of the wallet.
2. Hide the wand in the left sleeve.
During the performance: Take the wallet in your 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, a rope and a ring. Wrap the rope around the Wand three times and then close the Wand with your finger, then wrap the rope three times in the opposite direction. Your finger will not let the rope slip!
Try to make sure that both ends of the rope hang down about the same length. Now ask the viewer to put a ring on the rope and tie the ends together. After that, ask the viewer to pull the rope straight down. The rope will slip past your finger and fall down!
Focus 4:
Use the clock and wand to find the chosen number.
For this trick, you will need your Magic Wand and a wrist or wall clock. Draw the attention of the audience to the wall clock and ask any of them to think of any number from 1 to 12.
Tap the wand on the numbers on the dial. At the same time, the spectator must count one for each hit, starting from the number following the intended one. For example, if the viewer thought of the number 7, then he should start counting from the eighth beat and so on up to 20.
The first 7 strokes you make on any numbers on the dial. On the eighth beat, hit the number 12, and then continue to hit each number, moving counterclockwise (left). When the viewer counts
up to 20, your Wand will be on their chosen number!
Focus 5:
The ball rolls on the stick without falling off the stick.
For this trick you will need a Magic Wand, Fine Thread and some Ball.
The thread must be attached to one of the ends of the Stick.
Hold the other end of the Thread with your fingers so that it is “near” but “behind” the Wand. Thus, the Wand makes the 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 around the Stick in any direction, moving the Thread closer and further away from the Stick without the viewers noticing.
Focus 6:
You wrap the Wand in newspaper and then tear the newspaper and the Wand into small pieces. And then your Wand becomes whole again!
For this trick you will need your Magic Wand, Newspaper and Homemade Wand. Before the performance, make a duplicate of the Magic Wand out of paper. To do this, paint the middle part of a sheet of paper black, then roll the sheet into a tube and glue it.
The more authentic your Twin Wand looks, the more effective the trick will be.
During the presentation, wrap
Twin Wand into the newspaper, then rip the newspaper with the Wand inside. It should look like the Wand has disappeared, torn.
To make the Wand reappear, you can take it out of at least the 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 to hold the rope by the ends and - pull!
Focus 8:
The wand rises from the bottle in an incredible way.
Attach a very thin thread to one end of the Magic Wand before starting the trick. Attach the other end of the thread to a button on your clothes. Show that the bottle is empty and normal. Now lower the Wand into the bottle with the end where the thread is attached. And using magical passes, raise 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.
Each time you pass your hand over the Wand, at the same time blow on it in the direction of the hand movement. Blow unnoticed by the audience, for example, open your mouth and exhale without straining your lips and other muscles of your face, 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 milkshake when you use a regular Cocktail Straw instead of a Stick.
Focus 10 :
Your solid, wooden Magic Wand transforms into a rubber wand on command, gaining illusory flexibility.
Hold the stick horizontally between your thumb and forefinger. Lightly hold the Wand 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 gained "rubber" flexibility and "went in waves" from your movements.
Focus 11:
To show that you have magical abilities, you make the Magic Wand float in the air.
Grasp your right hand with your left hand in such a way that you can hold the Wand pressed against the palm of your left hand with the index finger of your right hand, as shown in the picture.
Focus 12:
"Flying Stick" (second option)
This is a variant 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 effective if the audience does not start counting your fingers.
Your child can make this magic wand for showing tricks on his own, only he needs a little help if he is still quite a baby. An older child, on the other hand, can make a magic wand himself, without asking the help of his parents. Such props for tricks are very simple, but at the same time, they will help the child feel like a real illusionist, conjurer and magician.
So, the first thing you, young friend, can do to replenish yours is to make a magic wand. It is done very simply. You will need thick paper, from which you must glue, 200x10 in size (length and diameter). This tube should consist of several layers so that you cannot accidentally crush it. Paint the magic wand blank black using gouache. You can decorate it with gold stars, or cover it with silver paper (thin foil).
Now you will need two, the diameter of which will not exceed the diameter of the magic wand. Buttons are needed with ears, for which you tie a thin elastic band. you can take one that is usually put on bundles of money. Or try to extract it from the usual fabric elastic band for leotards.
So, to one button, pass its second end through the tube, and tie it to the second button. At the same time, make sure that the elastic band is slightly stretched so that the buttons do not hang out by themselves. That's all. The magic wand is ready. Now let's see how it works.
How to do magic wand trick
with a magic wand, you have to make sure that the viewer does not see your manipulation of the rubber band. Take the magic wand in your right hand, discreetly hooking the button with the rubber band with your thumb. Now, when you slightly loosen your grip, the magic wand, to the amazement of the audience, will crawl up in your fist. And if you sharply open your fist, then it is simply up. It will be very lucky if you can then catch the falling stick with the same hand. If you are dexterous enough, the viewer will not notice either the rubber band or the button. Good luck with your performances, young wizard!
After checking that everything is in order, the artist can start demonstrating the trick. He goes to the first table, picks up the case and shows the audience a bottle (Fig. 17). Then the artist, having closed the bottle with a case, comes to the second table and, tightly clasping the case with his fingers, removes it together with the bottle. The audience sees that there is a glass of water under the case on the second table. When the magician does this a second time, he raises the case with the bottle on the first table and shows the audience a glass, and on the second table he raises only the case, and the audience sees the bottle (Fig. 18).
"MAGIC WAND
The so-called “magic” wand is an essential accessory for a magician. She came from old fairy tales - wizards in fairy tales often worked their "miracles" with the help of "magic" wands. The presence of a "magic" wand helps the artist in demonstrating tricks.
To somehow justify her appearance, the performer can show the following trick, which will convince the audience that the wand is really "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 audience will believe that it is "magic". But suddenly the wand in the artist's hand crawled up. The audience is surprised: after all, the stick is literally torn from the performer's hand and rapidly flies into the air. Yes, it seems that the wand is really “magic”.
The main prop of this trick is a wand. Making it is quite easy. 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 covered 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 pick up two buttons of the same diameter as the stick. Buttons must certainly be with upekami.
In addition to the listed items, you will also need a piece of nipple gum, the length of which should be equal to the length of the stick.
The preparation of the trick is as follows: the elastic is pushed through the stick, buttons are attached to its ends, so that the elastic is slightly stretched (see Fig. 19). At the top, the button must be fastened tightly and carefully disguised.
When demonstrating the trick, the stick must be taken in the right hand and, holding it vertically, imperceptibly pull the elastic band by the bottom button about three-quarters of the length of the stick. The hand, of course, must be held so that the elastic band is not visible to the audience.
The button should be clamped with the thumb (fig. 20). During the demonstration of the trick, the artist should stand half-turned to the audience, trying not to turn his back on them, so as not to arouse distrust in himself.
To demonstrate the "magic" actions of the wand, which the performer holds before the start of the trick, as shown in Fig. 21, it is enough to release it slightly, and it will freely crawl up. If the palm is quickly unclenched, then the stick will rapidly fly up into the air (Fig. 22). This trick is recommended to be shown by the way, in order to justify the name of the wand - "magic".
SECOND OPTION OF THE "MAGIC" WAND
From different options for tricks with a "magic" wand, you can make a program for performing on the stage. We offer the second version of the "magic" wand, the focus of which can become an independent number of the program.
The performer takes a sheet of paper torn from an ordinary notebook from the illusion table and rolls a pound out of it (Fig. 23). Then the artist pretends that he, trying supposedly to be unnoticed by the audience, takes something out of his pocket and puts it in a pound. The audience, of course, notice this and do not believe the words of the artist when he says that the pound is completely empty. Spectators are asked to unfold 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 clenched fist of the performer. Then the magician has to show what is hidden in the fist. Again, pretending that he shifted something from this hand to another, 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 and in his hands.
After that, 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 gives the audience to inspect the wand. Spectators are convinced that the wand is the most ordinary, does not hide any secrets in itself, and returns it to the performer.
Now the magician takes out a small bright handkerchief from his pocket and puts it in the pounder, trying to push the handkerchief to the very bottom of the pounder with a stick. Having unfolded the pound, the performer shows that the handkerchief has disappeared without a trace. Having discarded the piece of paper, the artist again allows the audience to inspect his "magic" wand. And the handkerchief, 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 with his fist, in which the handkerchief is hidden, and a “miracle” happens: the performer opens his fist, and the audience sees an empty palm.
Secret, props and trick demonstration
The main prop of this trick is also the wand; its size is the same as the size of the stick in the previous trick, that is, 20-25 cm. But this stick must be conical, like a drum stick or a pointer. Such a wooden stick becomes “magic” because a metal tip or cylinder is put on its thickened end (we will agree to call this end of the stick the front end). Therein lies the secret of focus.
An ordinary tin sleeve can serve as a tip (Fig. 24). If a sleeve from a hunting cartridge is used, then the stick must 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 snugly on the stick. When the stick and sleeve are ready, they must be painted black, and first the entire stick is painted over, and then the sleeve. When the paint dries, the tip can be put on a stick.
Now for the demonstration of focus. First, the performer plays the audience, and then takes a pound in his left hand (bottom up), and in his right stick (see Fig. 24). The artist inserts the stick with the front end into the pound, showing the audience that it is empty. Turning the pounder upside down (Fig. 25), the performer squeezes it with the thumb and forefinger of the left hand.
"Having stirred" the wand in the pound, the magician puts it under the arm of his left hand. At the moment of stirring, the tip of the stick should be left in the pound. Now the performer needs to take a handkerchief, put it in a pounder and push the pointed side of the stick into the sleeve in the pounder (Fig. 26). After that, the sleeve should be put on the stick again in the same place, inside the pounder (see Fig. 26) and the stick should be put under the arm again (this is the most convenient and visible place). Now the bag is empty, it can be unfolded and shown to the audience. The sheet 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 stick with his right hand, and with his left quietly removes the sleeve, leaving it in his left hand, and with his right hand puts the stick on the illusion table. After that, the artist calmly pulls a handkerchief out of the sleeve with his right hand, leaving it invisible 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 that was in his left hand on the wand. This must be done instantly and, of course, imperceptibly. Every movement of the artist must be justified, otherwise he will be exposed.
The number can be ended by showing the audience the handkerchief that has appeared. Then it must be put on the table, show the audience both hands, touching the palms in turn with a stick, and put the stick next to the handkerchief on the table.
You can demonstrate this focus and so. Having shown the audience a handkerchief, the artist puts 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 the “magic” wand from the table and inserts it into the fist with the front end. The sleeve will easily fit on it. Now the performer can boldly open his fist and draw a stick across his empty palm, confirming the fact that the handkerchief has disappeared (Fig. 29).
"MAGIC" ROPE
Among the magician's props on his table is an ordinary rope, which is often needed in household use. The performer comes to the table, takes this rope and shows it to the audience. “Ordinary rope,” the viewer thinks. And indeed, the artist confirms this by tying it in a knot, then folding it in half with a tourniquet (Fig. 30).
But since the rope appeared in the hands of a magician, then we must wait for a miracle. And the audience is closely watching 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 unusual rope segment with his finger, and it turns into the letter “G” (see Fig. 31). As the performer touches this rope, she obediently writes out various figures.
Having made several figures, the rope takes on its former form. The artist finishes the demonstration of the trick and places the rope on the illusion table.
Secret, props and trick demonstration
Rope transformations seem 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 work. We draw the attention of readers to the last word, because diligence in the work of a magician is above all.
For this number, you will need a piece of linen twisted (round) rope 100 long 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, all the internal threads that fill the round rope must be pulled out of it.
After such an operation, only its upper cover, or "stocking", with a through hole along the entire length, will remain from the previous rope. Now we need to prepare several dozen cylinders made of aluminum, plastic or wood (Fig. 32). Cylinders are strung on a piece of fishing line so that both ends of the fishing line remain free 1 cm(see fig. 32).
Then, on these peculiar beads, you need to pull the rope cover. Now the rope again takes on the appearance of a real one, but with the difference that instead of threads, it has cylinders inside it. They will form the basis of the rope. The cylinders inside the case should be at some distance from each other so that the rope can be freely tied into a knot and twisted with a bundle, like an ordinary one. The upper end of the rope must be fastened tightly, that is, fasten the fishing line and the case in such a way that they hold very firmly. The other end of the fishing line is tied to a white button with a metal eyelet with a diameter slightly larger than the diameter of the cylinders (see Fig. 32). The button should not slip inside the case when the line is pulled.
After the audience is convinced that the performer has an ordinary rope in his hands, you can proceed to show the number. The artist takes in his hand the end of the rope to which the button is attached. Holding the button between the little finger and the ring (or middle) fingers, the performer pulls the line, sliding the thumb and forefinger along it. Such a movement of the fingers will press the cylinders tightly against each other, and the rope will freeze in a vertical position (Fig. 33).
To depict the figure of the letter “G” with a rope, it is enough for the performer to touch it a little above the middle with the index finger of his free hand (conditionally right), and with the left to loosen the tension of the fishing line. The cylinders at the point of contact will disperse and the upper part of the rope will lower, depicting the desired figure.
"MAGIC" WHISTLE
The performer goes to the auditorium and asks the audience to give him a pencil. Having received a pencil, he returns to the stage, takes a whistle from his table and, raising it to his mouth, whistles. Then the artist, taking a small piece of thread, ties a whistle to one end of it, and a pencil to the other (Fig. 34). Now the whistle is hanging in the air, dangling freely on a thread. At the request of the audience, the whistle starts to whistle, although it still hangs on a thread and the artist does not touch it. The performer demonstrates the trick by descending into the auditorium. Showing the focus directly in the auditorium causes an increased interest of the audience and enhances the effect of the focus.
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 a 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 mouth of the whistle, and the other on the rubber bulb (Fig. 35). The length of this device should correspond to the length of the sleeve of the performer's jacket, inside which it will be hidden. The rubber tube is located along the sleeve towards the shoulder, the rubber bulb is placed under the arm, 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 a whistle hanging on a pencil, the performer squeezes the pear under his arm, and the whistle whistles.
HOW TO GET A BURNING CANDLE FROM YOUR POCKET
The effect of this trick is that the artist takes out a burning candle from the pocket of his jacket.
Secret, props and trick demonstration
The main requisite for this trick is an ordinary stearin 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 should be stuck into the softened part of it with sulfur heads up (Fig. 37). These matches form an artificial wick.
In addition, for the trick you will need a plank or a piece of cardboard measuring 9 X 12 cm s covered with a thin layer of sulfur. It is easy to make such a board yourself by sticking several strips of sulfur separated from matchboxes on a cardboard of the right size (Fig. 38).
The cardboard covered with sulfur and the candle should be placed in the side pocket of the jacket so that the candle wick is directed to the bottom of the pocket, and the sulfur side of the board is facing the candle (Fig. 39).
At that moment, when the performer takes out a candle from his pocket, he will draw a match wick over the plate, and he will have a burning candle in his hands (Fig. 40).
EXTRAORDINARY BOTTLE
There is a bottle of lemonade and two glasses on the performer's illusion table. The artist takes a 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 stream of colored ribbon stopped, and the artist again fills the glasses with sparkling lemonade, which is still 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 glass blower, if he is provided with an appropriate drawing, or a tinsmith who can make such a bottle from tin (Fig. 43).
Acquainted with Fig. 43, a, you will understand the device 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 in the middle of the inner bottle, carefully push a tape 10-12 long with a pencil m(Fig. 43, b). For greater effect, the tape must be made up of several segments of ribbons of different colors, 2-3 m everyone.
The tape is placed in a bottle so that the performer can easily get it with two fingers at the right time.
When filling glasses, the bottle should be held so that the audience does not see the neck. It should be directed towards the side wings.
And one more very important detail: do not forget to paint the bottle that the master will make in the color that a real lemonade bottle has. In addition, it must be properly designed externally - wrap the neck with silver paper and attach the desired label. The more natural the bottle is framed, the less suspicion it will arouse among the audience.
WONDER BOTTLE
We deliberately give a few tricks with the bottle, as this prop is small and easy to manufacture.
An ordinary bottle of champagne and a glass stand on the performer's illusion table. The artist takes a bottle, fills a glass and drinks the drink with pleasure (Fig. 44).
The performer then wraps the bottle in newspaper. The audience is watching with interest what will happen with this bottle. After all, it was not without reason that the magician wrapped her in a newspaper. And indeed, to the surprise of the audience, the artist begins to pull out of this bottle wrapped in newspaper, one after another, colorful silk scarves (Fig. 45).
Pulling out the last handkerchief (and he took out quite a lot of them), the performer suddenly vigorously crumples the newspaper along with the bottle and throws aside a loose newspaper lump that he no longer needs (Fig. 46).
Secret, props and trick demonstration
The bottle for this trick is made of paper. Its appearance should correspond to a real champagne bottle.
Such a bottle is made of black glossy paper, which can be purchased at any stationery store. It must be glued from two components - this will facilitate the manufacture of the bottle (Fig. 47).
When both parts of the bottle are ready, a second inner neck should be placed inside its upper part in the neck area. This neck is glued from a photographic film rolled into a tube. The upper part of the tube remains free, and an ordinary 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 in terms of capacity, the tube should hold about a glass of water. So that this inner neck does not hang around inside the bottle and does not fall to the bottom, it must be fixed with the help of an inner bottom, which is cut out and put on the tube close to the nipple (Fig. 48, b). Now the straw 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 came close to the inside of the upper half of the bottle (Fig. 48, c).
Then you need to cut the edges of the upper "half of the bottle with cloves so that when gluing the parts of the bottle you do not get wrinkles 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), into its lower part from the side several colorful silk scarves are pushed in. After that, you need to cut the bottom out of thin cardboard and push it a little inside the bottle (Fig. 49).
Just before the performance, the desired drink is poured into the upper part of the bottle (Fig. 50). Now the bottle can be put together with the glass on the illusion table.
The demonstration of focus is as follows. The performer pours the contents of the bottle into the 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 is easy to open. The artist pulls out one by one the handkerchiefs in the bottle. As soon as the last handkerchief is taken out, the magician can safely crumple the newspaper in his hands along with the bottle 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 enters the stage as an assistant. This is a completely foreign magician man. If the artist is assisted in demonstrating the trick by one of the spectators, then the audience, naturally, is imbued with greater confidence in the performer and the effect of the trick is enhanced. The demonstration of such tricks enlivens the audience and increases their interest in the performance of the artist.
So, having invited an assistant from among the audience to the stage, the artist asks him to tightly tie the thumbs of both hands with a bow (Fig. 51).
Tie 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 at a time into his hands. The ring, thrown by the assistant, miraculously passes through the bound fingers of the performer 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, are strung on the performer's hand (Fig. 53). And the thumbs of both hands of the artist still remain tightly bound. Helper is confused. After all, this miracle happened before his eyes and he directly participated in the demonstration of the trick. At the request of the performer, the somewhat embarrassed assistant unties the rope with difficulty and frees the performer's fingers.
Secret, props and, trick demonstration
All the props of this trick are five rings with a diameter of 20-25 cm and a small piece of string. The secret is in the unusual position of the fingers at the time of their binding. Look closely at fig. 54. You see that the performer, having folded his hands before letting his thumbs be tied, leaves the middle finger of the 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 skip the ring between the bound fingers. But the position of the connected fingers is easy to change and release one of them to allow the ring to pass. This is done in the following way. When the performer convinces the assistant and the audience that his fingers are tightly bound, he can go to the opposite corner of the stage (in relation to the auditorium, the artist should become the right side). At the time when the magician will give instructions to the assistant 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, which are facing each other with their palms (see Fig. 55).
The artist will immediately feel that his thumbs are 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 the thumbs so that they are one above the other (right over left, see Fig. 55). The loop that binds the fingers becomes free, and this allows the artist to quickly release the right finger, skip the ring and put it on the right hand (Fig. 56).
As soon as the ring passes through the "tied" fingers, the artist must quickly put the finger back into the loop. This movement must be done as many times as the assistant throws rings. Focus requires a long training, since its execution requires impeccable cleanliness 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 it 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 the tree hitting the glass. Then he wraps the stick in a sheet of paper (Fig. 33, BUT and B) and again knocks it on the glass, after which it quickly, with a sharp movement, breaks the wrapped stick in half (Fig. AT). Taking both halves in the palm of his 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 lies in a false stick made of paper. After gluing, it is painted in the same way as the real one.
Small wooden corks are inserted inside the false wand at both ends, with which the magician knocks on the glass. To make the sound sharp, like from a tree, in some places the paper is exposed, and the cork tree is carefully painted over.
A false stick is placed on the table under the cover of an object or in the inner pocket of the suit, where the real one is also placed. Instead, at the right moment, the magician takes out a false stick, with which he shows the trick just described.
Many in childhood dream of becoming wizards or conjurers. After all, a miracle is not just an inexplicable phenomenon, but also a state of mind. So why not become a wizard at least for? The main attribute of any wizard is not only his hat and cloak, but also a magic wand. You can do it yourself.
For work, we need the following materials:
- sheet of black paper,
- fax paper tube
- glue,
- scissors,
- pen or pencil
- silver thread,
- cooking foil.
How to make a magic wand out of paper for a magician:
1. As always, to create simple crafts with children, we choose only improvised materials. If you don't have fax paper tubes, pick up something similar.
2. Cut out a rectangle of black paper along the length of the tube so that it can wrap the tube itself several times.
3. Paste it with black paper using a glue stick. In this case, this is the best option, since PVA glue on thin paper will give extra waviness.
4. At the tip of the tube, we wrap the paper inward if it protrudes.
5. We wrap our magic wand with a silver thread - it is used for embroidery by needlewomen. Can be found in sewing supplies stores.
6. From the culinary foil we cut out two circles of a slightly larger diameter than the tube, and two rectangles in several turns of the tube itself.
7. Thickly smear the tip of the stick with glue.
8. Glue the circle, closing the hole in the tube.
9. Fold the rectangle in half and glue it to the edge.
10. It turns out like this in the end.
11. The paper and cardboard magic wand is ready! It remains to read the spell correctly and with all my heart wish something good and bright!