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 Post subject: Maskelyne's 24 rules of Magic
PostPosted: Fri Jun 17, 2005 12:35 pm 
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1. Never set aside any accepted rule, unless it is absolutely necessary to do so for some clearly defined reason.

2. Always endeavor to form an accurate conception of the point of view most likely to be adopted by a disinterested spectator.

3. Avoid complexity of procedure, and never tax either the patience or the memory of the audience.

4. Never produce two simultaneous effects, and let no effect be obscured by any subsidiary distraction.

5. Let each magical act represent a complete, distinct, and separate entity; compromising of nothing beyond one continous chain of essential details, leading to one definite effect.

6. Let every accessory and incidental detail be kept well "within the picture," and in harmony with the generay impression which is intended to be conveyed.

7. Let nothing occur without an apparently substantial cause, and let every potential cause produce some apparently consequent effect.

8. Always remember that avoidable defects are incapable of justification.

9. Always remember that a plea of justification is ordinarily an aknowledgement of error, and consequently demands every possible reparation.

10. Cut your coat according to your cloth, but spare no pains in the cutting, or your procedure cannot be justified.

11. Always remember that a notable suprise is incapable of repetition; and that the repetition of an effect, of any kind whatever, cannot creat suprise.

12. A minor conception ordinarily demands the cumulative effect of repetition; a conception important in itself should usually create a distinct suprise.

13. The simultaneous presentation of two independent feats is permissible when one of them is associated with cumulative effect and the other in a final suprise.

14. Unless good reason can be shown, never explain, UPON THE STAGE, precisely what you are about to accomplish.

15. When presenting an effect of pure transition, the first and most important essential is the avoidance of every possible cause of distraction.

16. When an effect of transition ends with a sudden revelation or suprise, the course of the transition should be punctuated by actions or sounds leading up to and accentuating the final impression.

17. In every effect of pure transition, the beginning and end of the process involved should be distinctly indicated by some coincident occurrence.

18. In each presentation, the procedure should lead up to culminating point of interest, at which point the magical effect should be produced and after which nothing magically interesting should occur.

19. When a presentation includes a number of effects in series, the final effect should represent a true climax, and it's predecessors successive steps whereby that climax is reached.

20. When Magic and Drama are combined in one presentation, the stage procedure should primarily be governed by Dramatic requirements of the case, rather than the normal principles of Art in Magic.

21. When, in a combination of the two arts, the primary requirements of drama have been satisfied, all subsidiary details of procedure should be dictated by the normal principles of Art in Magic.

22. No magician should ever present, in public, any magical feat in which the procedure cannot be, or has not been, adapted to his own personal characteristics and abilities.

23. Never attempt, in public, anything that cannot be performed with the utmost ease in private.

24. Never present in public any performance which has not been most perfectly rehearsed - first in detail, and finally as a whole.

Rules to live by even today. I agree with most of these rules entirely, and they provide further proof that having a solid foundation can instill longevity, confidence, and an overall success in your magic. Having an indepth knowledge about the inner workings, and the psychology of magic in general, will provide you with the tools to better present your magic in the most entertaining manner possible...


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 Post subject:
PostPosted: Sat Jun 18, 2005 1:27 am 
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24. Never present in public any performance which has not been most perfectly rehearsed - first in detail, and finally as a whole.

Could Not agree More.

So many people noa a days get a trick from penguin, or wherever, watch the instructional vid, or skim the instrutions and the next thing you know they are performing it at a dinner party infront of 10 people. And then some say, "meh, the effect is ok" But if they had practiced it and rehearsed before hand untill it has been refined and perfected - It would have got them so much more mileage.

I like to practice something for a good month. Then perform it for someone who critiques me, and they usually tell me if Im ready to go or not. And I film myself (without looking into the video monitor MD!) - That was for you sirbrad.


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 Post subject:
PostPosted: Sat Jun 18, 2005 2:18 am 
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Good job. A question, were you somehow drawn to the number 24 due to your obsession with the TV show? I guess the power of suggestion is stronger than I thought. :)


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 Post subject:
PostPosted: Sat Jun 18, 2005 11:41 am 
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sirbrad wrote:
Good job. A question, were you somehow drawn to the number 24 due to your obsession with the TV show? I guess the power of suggestion is stronger than I thought. :)


Haha i never even realized that. Thats funny.

Do you agree with what i wrote though?


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 Post subject:
PostPosted: Sat Jun 18, 2005 12:25 pm 
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Sure, although you cannot really place a universal time limit on how much time you need to invest into an effect before showing it live. Everyone learns at different speeds, and effects also all have their various difficulty levels, so it is tough to make an accurate perception.

The best answer would be, after you are able to perform the effect without any hitches, and as fluently as possible--or in in other words, 'in your sleep.' Once the effect has become part of your magic persona, and you longer really have to think about it anymore. For some thing could take months, for others it could take years...But one should definitely not rush any effect into a live performance until he is sure it, and he is ready for it.


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 Post subject:
PostPosted: Fri Aug 26, 2005 6:40 am 
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born to perform.

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#1 - The first rule of penguin magic Club is, you do not talk about penguin magic Club.

#2 - The second rule of penguin magic Club is, you DO NOT talk about penguin Club.

#3 - If someone says stop, goes limp, taps out, the magic trick is over.

#4 - Two spectators to a trick.

#5 - One trick at a time.

#6 - No gimmicks, no revealing.

#7 - Tricks will go on as long as they have to.

#8 - If this is your first night at penguin magic Club, you have to do a trick.

haha i put my touches on the rules of fight club


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 Post subject:
PostPosted: Sat Aug 27, 2005 12:16 pm 
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born to perform.

Joined: 20 May 2005
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Location: An amatuer practices until he gets it right, a professional practices until he can't get it wrong...
the only rule you have to live by is this: DONT EXPOSE TO LAYMEN!!


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 Post subject:
PostPosted: Thu Sep 08, 2005 1:04 am 
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Sunnydolan wrote:
the only rule you have to live by is this: DONT EXPOSE TO LAYMEN!!



Theres very few who do that, there are alot more who reveal to magicians. If you want to know who someone does something, buy the book or the DVD or the gimmick or whatever you have to. I hate it when people just run around exposing effects to magicians left and right.


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