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La Magie des chaises a demandé cinq ans de travail.

Un jour pendant que James et moi-même étions en train de travailler sur un autre projet, il arrêta tout pour me montrer une maquette : « Regarde ça et dis-moi ce que tu en penses. » Cette maquette était celle de la MAGIE DES CHAISES. Je fus immédiatement enthousiasmé par ce sujet complètement nouveau et original, aucun auteur n’avait songé à réunir en un seul ouvrage tout ce que l’on peut faire magiquement avec des chaises ! Cette maquette était pleine d’idées et de dessins comme seul James savait les exprimer.

Nous revenions sur ce livre à chacune de nos rencontres, chaque fois c’était un feu d’artifice de nouvelles idées, à chaque élément s’en ajoutaient d’autres. Ce livre ne fut pas prêt pour les Congrès, par bonheur nous en avions préparé d’autres.

Hélas, nous avons perdu James en 2019. Vanina Hodges, aidée par Liliane, sa mère, avait suivi avec son père la préparation de ce livre : James avait terminé tous les dessins, Vanina a finalisé les textes et la mise en page du livre comme elle l’a fait pour de nombreux autres ouvrages de son père.

Lorsqu’elle m’a annoncé que le livre était enfin prêt et qu’elle allait me le faire parvenir, je ne sais pas si j’ai su lui exprimer toute la reconnaissance que j’éprouvais pour m’avoir fait confiance en continuant ce travail.

Liliane m’a confié le soin d’éditer ce livre, qui s’inscrit dans un cycle de cinquante années d’amitié et de collaboration avec James Hodges.

Magic, Simon During suggests, has helped shape modern culture. Devoted to this deceptively simple proposition, During’s superlative work, written over the course of a decade, gets at the aesthetic questions at the very heart of the study of culture. How can the most ordinary arts—and by “magic,” During means not the supernatural, but the special effects and conjurings of magic shows—affect people?

Modern Enchantments takes us deeply into the history and workings of modern secular magic, from the legerdemain of Isaac Fawkes in 1720, to the return of real magic in nineteenth-century spiritualism, to the role of magic in the emergence of the cinema. Through the course of this history, During shows how magic performances have drawn together heterogeneous audiences, contributed to the molding of cultural hierarchies, and extended cultural technologies and media at key moments, sometimes introducing spectators into rationality and helping to disseminate skepticism and publicize scientific innovation. In a more revealing argument still, Modern Enchantments shows that magic entertainments have increased the sway of fictions in our culture and helped define modern society’s image of itself. [editor summary]

This magic volume series was originally designed as a correspondence course for budding magicians. Once they were collected and bound, the series has become an unparalleled reference standard for magicians. In its impact on the magic world, it is second perhaps in its influence on the art of magic only to Hoffman's Modern Magic, and many professional magicians have based their careers on the Tarbell Course.

The entire collection comprises more than one-hundred lessons in every aspect of magic including micromagic/close-up magic, escapology, mentalism and stage illusions. It is the most comprehensive literary work in magic history. The original five volumes contained sixty correspondence lessons with more than 3,000 illustrations.

In addition to teaching specific tricks, The Tarbell Course also teaches patter, marketing, the history of magic, ethics, advertising, routining, presentation, diction and elocution, magic theory, performance theory, acting, misdirection, timing and showmanship.

Volume 7 of the series was written by Harry Lorayne and compiled from contributions by other magicians; it is valued largely for its comprehensive index, subdivided by title, contributor, and properties, to the first seven volumes.

Volume 8 of the series was compiled and edited by Richard J. Kaufman and Steve Burton. It collected Harlan Tarbell's widely scattered and previously uncollected writings on magic, which Kaufman then fashioned into something resembling the first six volumes of the course. Since most of the book was written and illustrated by Tarbell, it is linked more closely to the rest of the course than Volume 7.

Not a book of optical illusions, but a complete treatise on the optical principles used in magic. The book covers Retention of Vision; Position Illusions; Blackout; Angles of Vision; Background masking and blending; Mirrors; Lighting; Lens transmission; Chromatics and much more. If this sounds like one of your high school physics books, fear not. The reading is incredibly interesting and really exciting! The author gives many examples of tricks and illusions using the principles he explains. You will be fascinated (so thats how those are done!). Not just for the stage magic guys. Close-up folks will find lots and lots of valuable information within. This book will become a classic of magic. It belongs on every magicians shelf. [Editor's summary]

Master illusionist Mark Wilson has compiled the most comprehensive magic "teach-in" ever assembled. The secrets to more than 300 classic tricks-from sleight of hand to levitation-are carefully explained in this 503-page volume.

It's all here: Card Magic, Coin Magic, Rope Magic, Mental Magic, Make-at-Home Magic, Sponge Ball Magic, Billiard Ball Magic, Cups and Balls Magic, and Magical Illusions. Mark Wilson devoted more than two years of research, writing, and technical preparation to this book. More than 50,000 still photographs were taken of the detailed execution of the tricks considered worthy to include in this course, and these photographs were edited and converted into hundreds of simplified line drawings. The straightforward text follows Mark Wilson's "step method" of magic instruction, the same method he has used to teach magic to Tony Curtis, Telly Savalas, Bill Bixby, Dick Van Dyke, Peter Faulk, Bernadette Peters, John Denver, and other professional entertainers. It's thoroughness makes Mark Wilson's Complete Course In Magic especially recommended for the beginner with absolutely no experience in magic. At the same time, its scope and depth has earned this book a place in the libraries of many of today's most accomplished magicians, professional and amature alike!

Ce livre est « La bible » de l'illusionnisme.
Tout y est passé en revue. Chaque point est détaillé et mis en application à partir d'exemples de routines (60 routines au total sur les trois volumes), créées ou modifiés pour l'occasion.
Il y en a pour tout le monde et tous les goûts, du magicien de close-up, jusqu'au magicien de scène, passant par des grandes illusions, la magie improvisée, la mise en place d'un spectacle professionnel.

Il donne le point de vue d'un professionnel de la scène sur la magie. Par exemple : pourquoi un spectateur peut croire n'importe quoi lorsqu'il assiste à une pièce de théâtre, alors qu'il peut être très méfiant devant un spectacle de magie ? L'auteur introduit là un concept intéressant, qu'il nomme "la suspension du refus de croire".

La mise en scène de la magie est primordiale car Le magicien n'est qu'un comédien qui joue à être un magicien.

Comment créer et tirer parti d'une structure dramatique (attirer l'attention, introduire l'illusion, le démarrage, l'action, l'effet, le dénouement).

Mise à place d'une illusion : le scénario, le script, le boniment, les enchaînements.

Ce livre est « La bible » de l'illusionnisme.
Tout y est passé en revue. Chaque point est détaillé et mis en application à partir d'exemples de routines (60 routines au total sur les trois volumes), créées ou modifiés pour l'occasion.
Il y en a pour tout le monde et tous les goûts, du magicien de close-up, jusqu'au magicien de scène, passant par des grandes illusions, la magie improvisée, la mise en place d'un spectacle professionnel.

Il donne le point de vue d'un professionnel de la scène sur la magie. Par exemple : pourquoi un spectateur peut croire n'importe quoi lorsqu'il assiste à une pièce de théâtre, alors qu'il peut être très méfiant devant un spectacle de magie ? L'auteur introduit là un concept intéressant, qu'il nomme "la suspension du refus de croire".

La mise en scène de la magie est primordiale car Le magicien n'est qu'un comédien qui joue à être un magicien.

Comment créer et tirer parti d'une structure dramatique (attirer l'attention, introduire l'illusion, le démarrage, l'action, l'effet, le dénouement).

Mise à place d'une illusion : le scénario, le script, le boniment, les enchaînements.

Ce livre est « La bible » de l'illusionnisme.
Tout y est passé en revue. Chaque point est détaillé et mis en application à partir d'exemples de routines (60 routines au total sur les trois volumes), créées ou modifiés pour l'occasion.
Il y en a pour tout le monde et tous les goûts, du magicien de close-up, jusqu'au magicien de scène, passant par des grandes illusions, la magie improvisée, la mise en place d'un spectacle professionnel.

Il donne le point de vue d'un professionnel de la scène sur la magie. Par exemple : pourquoi un spectateur peut croire n'importe quoi lorsqu'il assiste à une pièce de théâtre, alors qu'il peut être très méfiant devant un spectacle de magie ? L'auteur introduit là un concept intéressant, qu'il nomme "la suspension du refus de croire".

La mise en scène de la magie est primordiale car Le magicien n'est qu'un comédien qui joue à être un magicien.

Comment créer et tirer parti d'une structure dramatique (attirer l'attention, introduire l'illusion, le démarrage, l'action, l'effet, le dénouement).

Mise à place d'une illusion : le scénario, le script, le boniment, les enchaînements.

This magic volume series was originally designed as a correspondence course for budding magicians. Once they were collected and bound, the series has become an unparalleled reference standard for magicians. In its impact on the magic world, it is second perhaps in its influence on the art of magic only to Hoffman's Modern Magic, and many professional magicians have based their careers on the Tarbell Course.

The entire collection comprises more than one-hundred lessons in every aspect of magic including micromagic/close-up magic, escapology, mentalism and stage illusions. It is the most comprehensive literary work in magic history. The original five volumes contained sixty correspondence lessons with more than 3,000 illustrations.

In addition to teaching specific tricks, The Tarbell Course also teaches patter, marketing, the history of magic, ethics, advertising, routining, presentation, diction and elocution, magic theory, performance theory, acting, misdirection, timing and showmanship.

Volume 7 of the series was written by Harry Lorayne and compiled from contributions by other magicians; it is valued largely for its comprehensive index, subdivided by title, contributor, and properties, to the first seven volumes.

Volume 8 of the series was compiled and edited by Richard J. Kaufman and Steve Burton. It collected Harlan Tarbell's widely scattered and previously uncollected writings on magic, which Kaufman then fashioned into something resembling the first six volumes of the course. Since most of the book was written and illustrated by Tarbell, it is linked more closely to the rest of the course than Volume 7.

This magic volume series was originally designed as a correspondence course for budding magicians. Once they were collected and bound, the series has become an unparalleled reference standard for magicians. In its impact on the magic world, it is second perhaps in its influence on the art of magic only to Hoffman's Modern Magic, and many professional magicians have based their careers on the Tarbell Course.

The entire collection comprises more than one-hundred lessons in every aspect of magic including micromagic/close-up magic, escapology, mentalism and stage illusions. It is the most comprehensive literary work in magic history. The original five volumes contained sixty correspondence lessons with more than 3,000 illustrations.

In addition to teaching specific tricks, The Tarbell Course also teaches patter, marketing, the history of magic, ethics, advertising, routining, presentation, diction and elocution, magic theory, performance theory, acting, misdirection, timing and showmanship.

Volume 7 of the series was written by Harry Lorayne and compiled from contributions by other magicians; it is valued largely for its comprehensive index, subdivided by title, contributor, and properties, to the first seven volumes.

Volume 8 of the series was compiled and edited by Richard J. Kaufman and Steve Burton. It collected Harlan Tarbell's widely scattered and previously uncollected writings on magic, which Kaufman then fashioned into something resembling the first six volumes of the course. Since most of the book was written and illustrated by Tarbell, it is linked more closely to the rest of the course than Volume 7.

This magic volume series was originally designed as a correspondence course for budding magicians. Once they were collected and bound, the series has become an unparalleled reference standard for magicians. In its impact on the magic world, it is second perhaps in its influence on the art of magic only to Hoffman's Modern Magic, and many professional magicians have based their careers on the Tarbell Course.

The entire collection comprises more than one-hundred lessons in every aspect of magic including micromagic/close-up magic, escapology, mentalism and stage illusions. It is the most comprehensive literary work in magic history. The original five volumes contained sixty correspondence lessons with more than 3,000 illustrations.

In addition to teaching specific tricks, The Tarbell Course also teaches patter, marketing, the history of magic, ethics, advertising, routining, presentation, diction and elocution, magic theory, performance theory, acting, misdirection, timing and showmanship.

Volume 7 of the series was written by Harry Lorayne and compiled from contributions by other magicians; it is valued largely for its comprehensive index, subdivided by title, contributor, and properties, to the first seven volumes.

Volume 8 of the series was compiled and edited by Richard J. Kaufman and Steve Burton. It collected Harlan Tarbell's widely scattered and previously uncollected writings on magic, which Kaufman then fashioned into something resembling the first six volumes of the course. Since most of the book was written and illustrated by Tarbell, it is linked more closely to the rest of the course than Volume 7.