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one ... two
beginning to feel wide awake ...
three ...
come back now ...
four ...
wide awake ...
and five ...
wide awake ...
you are wide awake
mind and body have returned to normality ...
Appendix I: Performance Tips
1 - Most people do not believe in mind-reading as fact but they are
more likely to believe you can read body language or influence
behavior. To assist with this, set a mood and enhance your tricks by
dressing them up as psychological illusions.
x Dim the lights
x Dress appropriately in dark or black clothes
x Illuminate the room with candle-light
x Subtly suggest you are picking up on unconscious body
language such as micro-expressions of the facial
muscles, tone of voice, body stance and hesitation.
2 - Despite the descriptions used in the booklet, as far as your
audience is concerned you are not performing tricks or illusions.
x You are demonstrating effects not tricks
x You are conducting experiments
3 - Take Your Time
x Don t rush any of your effects. It is much more dramatic
and realistic to slow things down and reveal your
predictions or revelations piece by piece. In our Book
Test, for example, rather than reciting the whole first
sentence, only a couple of words are revealed first. Then
the whole first line is written down with each word being
deliberated over to maintain the illusion of mind-reading
and to build suspense.
4 - If Things Go Wrong &
x Forget about it! These are experiments, so if things don t
go to plan then simply move on. When things go wrong,
compliment the spectator; say they were difficult to read
and/or manipulate. Not only does this make them feel
good but it also indicates to the rest of the audience that
what you are doing is real rather than magic!
5 - Enjoy the Experience!
x If you enjoy yourself your audience will too. Don t
embarrass your spectators or audience; don t make them
look foolish and don t blame them if things go wrong. If a
trick doesn t work out the way you planned its not their
fault - its yours. Learn from the experience, practice,
practice and practice some more until you have perfected
the art of Easy Mentalism.
6 - Spectator Selection
" Unlike other forms of magic, Mentalism absolutely relies
on getting spectators to assist you with your experiments.
Getting your first volunteer to join you on stage to assist
can be the most difficult part of the act. When choosing a
spectator, look them directly in the eye and say You Sir
would you come up here please? Phrase this as a
command rather than a polite request and follow it quickly
with Give him a round of applause, please even before
he is out of his seat. When you volunteer is up on stage,
shake his hand, lean in and say Thanks for coming up.
Don't worry, I won't embarrass you or make fun of you.
We're just going to have a bit of fun ... . Having said this,
stick to your word and further volunteers will be less
difficult to find.
Appendix II Acknowledgements and Final Thoughts
The effects in this booklet owe a debt to all the creative minds of
mentalism past and present. For further reading and study I
suggest:
" 13 Steps to Mentalism by Tony Corinda - D Robbins
& Co 1968
Corinda is a complete course in mind reading and
mentalism. The 'Book Test' presented in this booklet was
inspired by the 14/15 stack mentioned in Corinda and 'Extra
Sensory Perception' is adapted from the Red Card
Prediction.
" Practical Mental Magic by Theodore Annemann -
Dover Publications 1983
Almost every effect in Annemann's book contains a method
that can be adapted or used for a trick of your own invention.
An absolute wealth of information and ideas, the loaded
envelope used in 'Heads or Tails?' was adapted from an idea
in this book.
'Simple Shape Prediction' is based on ideas contained in
Banachek's 'Psychological Subtleties'.
'Four Thought' was inspired by two effects. The trimmed card
element was inspired by Max Maven's Mind's Eye deck, in turn
inspired by the classic Svengali deck. The dual reality element was
inspired by a Direct Mind Reading trick in Marc Paul's lecture notes
and Mind 2 Mind DVD.
In writing this booklet, my aim was to bring to the 'weekend
magician' several principles and concepts that have been used by
mentalists for decades and continue to be used today by some of
our most popular and famous mind readers.
Mentalism has undergone a radical change in the last few years
and is often now presented with reference to psychological
techniques such as NLP, hypnosis and body language rather than
any kind of psychic ability. Your audience will decide whether they
accept your ability to read minds or are using psychological
techniques. Leave the choice to them hint but never explain.
There is always the risk that in exposing secrets such as this, an air
of disappointment is produced in the reader. When you have
watched a skilful and talented performer do something that looks
like real minding (or 'body language reading'), it can be
disheartening to discover such mundane methods behind the
magic.
The key to convincing mind reading and psychological illusions is
not the gimmicks and techniques but the performance, something
which is beyond the scope of this booklet. But if you believe in what
you are doing and have fun, your audience will too.
Easy Mentalism E book Edition by JP Jacquard
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