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Imagine a stage full of black cats emitting electrical sparks, a man catching bullets with his teeth, or an evangelist jumping on a transformer to shoot bolts of lightning through his fingertips. These and other wild schemes were part of the repertoire of showmen who traveled from city to city, making presentations that blended science with myth and magic.

In Wonder Shows, Fred Nadis offers a colorful history of these traveling magicians, inventors, popular science lecturers, and other presenters of “miracle science” who revealed science and technology to the public in awe-inspiring fashion. The book provides an innovative synthesis of the history of performance with a wider study of culture, science, and religion from the antebellum period to the present.

It features a lively cast of characters, including electrical “wizards” Nikola Tesla and Thomas Alva Edison, vaudeville performers such as Harry Houdini, mind readers, UFO cultists, and practitioners of New Age science. All of these performers developed strategies for invoking cultural authority to back their visions of science and progress. The pseudo-science in their wonder shows helped promote a romantic worldview that called into question the absolute authority of scientific materialism while reaffirming the importance of human spirituality. Nadis argues that the sensation that these entertainers provided became an antidote to the alienation and dehumanization that accompanied the rise of modern America.

Although most recent defenders of science are prone to reject wonder, considering it an ally of ignorance and superstition, Wonder Shows demonstrates that the public’s passion for magic and meaning is still very much alive. Today, sales continue to be made and allegiances won based on illusions that products are unique, singular, and at best, miraculous. Nadis establishes that contemporary showmen, corporate publicists, advertisers, and popular science lecturers are not that unlike the magicians and mesmerists of years ago.

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.

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.

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.

Every generation a magician comes along, whose intention is to record magic in an encyclopedic fashion. Professor Hoffmann was the first in recorded history to attempt such a feat with his trilogy Modern Magic, More Magic, and Later Magic. Certainly many magic books have been published before him, mostly copying from each other. But none reaches the depth and breadth of Prof. Hoffmann's work. The material in these three books records the state of the art of magic in the late 19th century. Today we know more tricks and we have also refined our techniques and methods. But it is astounding how much was already known at that time. Reading carefully you will discover several clever methods which have been forgotten or have fallen out of fashion with todays popular magicians. If you really want to fool your magic friends the next time, read this book and perform one of its many not so well known secrets.

ncore une fois Claude Klingsor frappe fort !
Dans ce document de 121 pages, il relate par le détail 28 effets de Mentalisme et de magie paranormale. Pouvant constituer un véritable numéro complet, il allie de nombreuses techniques connues : fil invisible, colles spéciales, pliages de papiers, électronique de pointe, transmission codée, etc.

Ayant une connaissance encyclopédique de toutes les techniques magiques employées depuis des décennies voire des siècles, il mélange habilement ancien et moderne, trucs éprouvés et magie technologique.

Rien que les effets créés grâce à sa cabine spirite miniature vaut amplement le prix de ce livre. Issu d'un principe créé par Steward James, la cabine spirite de Klingsor prend un coup de jeune terrible grâce à l'emploi de moteurs et de récepteurs !

Avec Klingsor, les esprits ont intérêt à se tenir à carreau !

Le but de cet ouvrage (faciliter l’utilisation de l’électronique dans le domaine de la magie), dans lequel nous nous proposons de décrire toutes les possibilités que nous donne l’électronique, depuis ses applications les plus simples jusqu’aux effets les plus étonnants, en donnant tous les détails de fabrication ainsi que les schémas des circuits utilisés et la manière de les réaliser même sans être un as du bricolage.
Sans vouloir en faire un traité d’électronique, nous y avons inclus une partie technique qui donnera au lecteur des renseignements précis sur les composants électroniques actuels, la manière de les assembler, de les tester, etc.
Quoiqu’il en soit, tous les tours sont décrits, de la façon la plus simple, sans phraséologie technique compliquée, pour que tous puissent comprendre facilement leur principe et leur fonctionnement. Un tel ouvrage manquait complètement à la littérature magique, en quelle que langue que ce soit. Notre but sera atteint s’il permet à nos amis magiciens de pénétrer dans le monde passionnant de l’électronique magique et de faire ainsi progresser celle qui nous tient tant à cœur : la Reine des Arts.