Luke Jermay Building Blocks
Luke Jermay
34,777 wordsMentalismintermediatewww.alakazam.co.uk and www.readminds.co.uk “...the power so to persuade them - the main secret, of the greatest secret, of the greatest magician’s success - lies in the skilful use of “An examination of suggestion techniques in combination with classic conjuring methods” Published by Peter Nardi and
Book TestForce
Building Blocks
by Luke Jermay
an alakazam magic publication
www.alakazam.co.uk and www.readminds.co.uk
“...the power so to persuade them
- the main secret, of the greatest
secret, of the greatest magician’s
success - lies in the skilful use of
suggestion”
Professor Hoffmann - 1911
Luke Jermay - 2003
Building Blocks
“An examination of suggestion techniques in
combination with classic conjuring methods”
By
Luke Jermay
© Alakazam Magic October 2003
Published by Peter Nardi and Alakazam Magic.
First edition October 2003
www.alakazam.co.uk
Books By Luke Jermay
7 Deceptions
Building Blocks
Building Blocks
Building Blocks
Building Blocks
Written by Luke Jermay
Edited by Mark Elsdon
Proof read by Kaye Pudney
Illustration & Cover Design by Adrian Gower
Layout, design and page set by Jon Robinson; Agent X Creative
Published by Peter Nardi and Alakazam Magic
www.alakazam.co.uk and www.readminds.co.uk
©All copyright owned in its entirity by Peter Nardi
and Alakazam Magic, October 2003
No part of this publication may be reproduced, copied, stored
or transmitted in any form whatsoever without the prior
written consent of the publisher.
From the Publisher
Welcome to Alakazam Magic’s latest publication, ‘Building Blocks’
by Luke Jermay. We consider it a real coup to be able to add this
superb book by Luke to our range in this exciting aspect to our
business. Along with ‘7 Deceptions’, ‘Building Blocks’ is Luke’s
second written work. Like his first, this book will not disappoint.
With many years of experience in the field of mentalism and
magic, Luke’s work fits right into place within our portfolio and we
are proud to be able to put our name alongside his.
Not just a highly talented sleight of hand magician, Luke has a
deep understanding of and a tremendous ability in the
psychological techniques and stratagems so important in an
increasingly popular side of our art.
Remember his name.
There will be more to come, of that we are sure.
Peter Nardi
Alakazam Magic
For more information about Alakazam Magic please visit our web
sites at: www.alakazam.co.uk and www.readminds.co.uk
contents
Foreword By Steve Banacheck page 9
Introduction By Luke Jermay page 13
Section One First thing first page 16
Section Two Definition is creation page 19
Section Three The power of silence page 23
Section Four The old witch doctor page 27
Section Five Convincers page 33
Section Six The building block technique page 42
Section Seven An essay by Kenton Knepper: page 45
“What are you suggesting by
using suggestion”
Section Eight Mixing magic and mentalism page 51
Section Nine Methodology page 55
Section Ten Effects page 59
1. ‘Divided by hate’ page 62
2. ‘Stigmata to go please’ page 68
3. ‘The kats kradle’ page 74
4. ‘The ernie ball book test’ page 81
5. ‘The ice man cometh’ page 86
6. ‘Stuck in a moment’ page 92
7. ‘A remote castle’ page 100
8. ‘Blind sentence’ page 110
9. ‘Personality projected’ page 116
10. ‘A safe anchor’ page 122
11. ‘Out of (t)his world page 128
11. ‘A presentation’ page 136
12. ‘A strange garden’ page 140
13. ‘Judgement day’ page 149
14. ‘Zeroing in’ page 158
Afterword By Peter Nardi page 162
foreword
by Steve Banachek
7 Deceptions, this was the title to one of Luke’s previous books.
The title itself was deceptive, yet to magicians and “mental
magicians” the title made sense. Here were seven tricks
(deceptions), but to working mentalists it was quickly understood
that there were certainly more than seven deceptions contained
within, more like 100. Probably the book should have been titled:
7 effects, 100 deceptions.
Some have dismissed much of Luke’s work as “effects that don’t
always work.” Others have heralded Luke’s progressive thinking.
Why the vast chasm? Again it was and is the difference between
mental magic and mentalism. Not that there is anything wrong
with mental magic, but THERE IS A DIFFERENCE and Luke clearly
understands the difference.
Which brings us to this book; it certainly has a more apt title,
Building Blocks….. but I wonder how many will understand what
Luke is really trying to say? Let me, from a personal standpoint, try
to explain. I once wrote a book dedicated to the nuances and
psychological subtleties involved in being a mentalist. In writing
the book I took it for granted that most would understand it was
not the effects in the book that were important, but the small bits
of business that structured each effect, these were the gems I was
trying share; how you said something, when you said it, what you
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did not say, why you said something and even more important,
your attitude when you said something. It was amazing to me how
many people told me they just did not get it.
Yet over time, almost all of these people who “just did not get it”
have corresponded with me in some manner telling me that they
have re-read my work, applied it to their own effects over time and
now thank me profusely. One even re-read the book, looked over
the videotape of his show and made three pages of notes where he
could improve his presentations.
So how does this apply to Luke’s work? Two reasons stick out the
most. I have heard a few people say almost the same things about
Luke’s offerings (“I don’t get it, it does not work all the time.”) but
even better, Luke has broken it down for you, something I wish I
had done. He has even given you the title to explain it; Building
Blocks is not about a child’s toy, it is about how to appear to be a
“real psychic”.
If you go straight to the effects in this book and skip over the
“building blocks” you can count yourself in that elite status of
being a magician or one who does “mental magic” and more than
likely a few of Luke’s effects will not work well for you, or never
work for you at all. Again, there is nothing wrong with mental
magic if you are presenting that, but this work is about so much
more than just magic. Luke gives you powerful TOOLS to work
with, don’t expect these tools to work all the time with everyone
but do expect them to enhance what you already do and do expect
that not only will they enhance what you do, but you will be better
suited to choose the right individuals to get the job done and
make it work more often than not.
I personally want to thank Luke for taking me back to my roots.
In my early days I took chances knowing that usually (not always)
I had a way to create a powerful outcome no matter what the
reaction of the spectator participating. For example, it is indeed
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powerful to bend a spoon or coin in someone’s hand, but how
much more impressive is it to have a spectator tell you they feel it
bending and moving in their hand? Although Luke does not tell
you specifically how to do this in this book, he does give you the
tools to do so; honesty suggestion, heat suggestion, power of
silence, definition=creation, and the most important thing he gives
you is your attitude or belief something is going to happen. If you
believe in what you are doing as you do it, it will convey the right
attitude and body language to a spectator, for instance you might
subconsciously nod your head as you ask the spectator if they feel
anything. This subconscious nodding of your own head will indeed
cause most spectators to reply in the positive. At first you may not
know why spectators respond the way you want them to, but over
time you will learn the how’s and why’s, but the starting point is
the positive attitude and belief you convey, your attitude will
influence the spectator more than you could ever imagine.
Since reading Luke’s work I have taken a step back in time and now
no longer rely upon the effect to impress the audience (a trap I
had fallen into over the years), people again feel the prick of the
needle as it pierces a copy of their hand, they feel the fork bending
in their hand. Every sensation is enhanced and as a result, every
effect is enhanced. Does it always work, no! But 90 percent of the
time is okay by me if it enables me to be more “real” when I am in
the moment; it is well worth the chance taken.
I challenge you to take these ideas and subtleties and apply them
to your own work. If you do, I guaranteed you will not be
disappointed. Thanks Luke for taking me back to my early days.
Having talked about the building blocks, let me briefly talk about
the impressive effects in this book. My favourite effect from a
magical point is “A Remote Castle”, to me it shows that Luke, as
young as he is, not only has an understanding of the subtleties of
our art, but can also create a great visual presentation. As with all
of Luke’s writings so far, there is much more to his thinking than
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what you see on the surface. With fresh presentations like these,
I look forward to the future of our craft.
In thoughts
Banachek
Sept 27, 2003
page 12
introduction
by Luke Jermay
Welcome to my second collection of thoughts focusing on the
combination of suggestion and the classic principles of Mentalism
and Conjuring.
In my previous work, “7 Deceptions”, I simply explained effects and
their wording and spoke of the power of the suggestions they had
built-in. I have tried to move away from that type of writing in this
work. I have, instead, offered the reader a detailed break down of
the techniques I use throughout the book, as well as providing a
number of full effects and the full scripting in the second section
of the book.
The thinking in the book has been heavily influenced by many
great thinkers. Kenton Knepper, Steve Banachek, Tony Andruzzi,
Docc Hilford, Ford Kross, Chan Canasta and many more. I have to
say a massive thank you to each and every one of the above
gentlemen for sharing their thinking with those willing to read and
understand.
I hope you will be willing to read and understand my work too -
and more importantly I hope you will find a thing or two to start
your own mind working.
I titled this book Building Blocks for a simple reason. I consider
the methods taught within these pages to be more than exclusive
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to the illusions they accomplish in my performances. Each
method is a block that you too can slip into place when building
your own routines. They can even be added into the effects you
already perform.
Let us now briefly look at the types of material covered in this
volume. You will find within these pages a selection of material
that can more or less fit into three main categories.
The first is sure-fire Mentalism or Bizarre Magick. This needs no
real words of introduction, these effects are sure-fire, tried and
tested performance pieces borne from classic principles of
conjuring and Mentalism. The methods employed are simple but
like everything in this volume do require a good strong
presentation in order for their full effect to take place.
You will notice that some of the effects such as The Ice Man
Cometh and A Remote Castle require a little preparation and
staging or order to achieve the desired effect. To my mind this
preparation is more than rewarded in the long run.
The second and to my mind the most interesting type of material
is that in which a combination of suggestion techniques and
magical methods become as one to aid the deception. In such
material strong and resonate effects are made possible in a way
that could never have been dreamt of without the use of
suggestion. Effects such as Projected Personality would play well
without the suggestion sequence but becomes something more
than the sum of their parts, taking on a new level of strength due
to the combination of suggestion and deception.
Suggestion and deception can bind together like bricks and mortar,
making a powerful and bold effect possible. Such routines also
have the advantage of being able to play with or without the
suggestion sequence. If for some reason the suggestions are not
taken as well as one would have hoped all is not lost. It allows the
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performer the opportunity of honing his suggestion skills without
the menacing fear of failure.
The final type of material is that in which nothing but suggestion
is employed. This is a style that is both bold and courageous.
It opens a new world of adrenaline rushes during performance and
is to me the most rewarding when successful. In these routines
there is nowhere to hide. You must be confident and experienced
with suggestion. I normally include one or two of these effects in a
performance. They afford us the power of prop-less and powerful
Mentalism and help us keep our wits about us, making every
performance fresh and exciting.
This kind of material could also be said to cover the realm of
psychological forcing, something I enjoy performing immensely.
In effects such as In Thoughts and Words we will see bold and
powerful psychological methods used to provide wonderfully
pleasing results.
Let us now begin our journey.
Luke Jermay.
page 15
section one
first thing first...
...first thing first
page 16
First Thing First
This is something that I always find myself stressing in a lecture
situation. We as performers sometimes neglect to understand that
when working with suggestion everything we already do has its
own inbuilt suggestion attached to it. It is not simply enough to
concentrate on our scripting alone. The way in which we move and
how each effect is framed and introduced is vital in the success of
a routine that centres around suggestion.
Let me use an example from my own repertoire. The effect with
which I open my set has nothing to do with suggestion. It is a
classic application of a sure-fire principle. Despite this, I always
introduce it as being something that is all about suggestion and is
in fact not very easy for either myself or the spectator taking part.
I seem very happy and thank the spectator for their effort and
explain that they really did brilliantly to have been so receptive
during such a difficult sequence. I then move onto an effect that
does work around suggestion and open it with the words:
“Ok let us move onto something a little easier - now you are
accustomed to such things.“
This speaks on many levels. As do I when I state it. I seem more
relaxed and appear more confident with this effect.
The suggestion inheriting within these words and actions when
combined are simple. You are communicating to your audience
that what you are about to do will work and you appear to have no
questions or doubts in your mind about this.
page 17
There is no other outcome. This will work.
The effect faking suggestion, which precedes an effect that
actually makes use of suggestion which will follow the ‘something
a little easier'’ line, has been said to be somewhat like a placebo
experiment in which someone was wired up to receive a painful
electric shock. They would rate the shock 1-10. When the brief
shock reached 10, a placebo saline solution would be injected,
and the patient would be told that a new wonder painkiller had
been given.
The experimenter would then secretly turn down the electric juice
a little bit, and re-shock the patient. Only a 7 this time. This
process was repeated three or four times, a lower level of shock
being given after the placebo injection. Then the patient would be
shocked and injected again but this time, when the shock was
given after injection, it would be left at its original level yet felt
only as a 5 or a 6, i.e. like the lower amp shocks.
The upshot of this seems to be that by accumulating suggestions,
we can make our subsequent deceptions stronger.
I feel this could be used to add some kind of contrast with a one-
man show, turning the dial lower every now and again, and then
blasting full at the end. It makes the final effect even stronger.
page 18
section two
definition is creation...
...definition is creation
page 19
Definition is Creation
“By the very simple action of defining we create”
This is the first rule I apply when constructing a routine centring
on suggestion. It is a simple and yet powerful rule to go by. If we
state it in its simplest form it is to say: by hinting to a spectator
what they are about to experience you have actually made a
suggestion of what will happen. This simple and, when read,
somewhat obvious rule is actually one of the most powerful in
the type of work I use. If you tell a spectator what is to happen
but in truth leave the definition open to their own personal
interpretations, they expect something to happen and will find
this ‘something’ themselves. Once this first ‘magical’ event has
happened it is easier to work with more specified suggestions as
they will try to fight it less. Now clearly just coming out and
saying to a spectator, “You will feel the ring heat up” will not
only doom the effect to failure in 99.9% of performances but also
make you look like you have some problem with social interaction.
With a rule so broad it can be difficult to see exactly how one
would apply it in a real working situation so let us examine it
using the example given of a ring held in the spectator’s hand
becoming warmer and warmer.
“Would you mind helping me for a moment? What we are going to
do may be a little scary but it is nothing to be worried about; there
will not be any after-effects. It’s just like a little mind game. If you
would not like to help, it is fine.”
These opening statements do several things. They begin by setting
the tone. I have openly stated that something strange will happen.
page 20
I have however not specified what that strange event will be.
I have also given some weight to the effect but introducing it with
the ‘no long term after-effects’ statement. This tends to force the
spectator into thinking more deeply about whether or not she
would like to help.
I find this very useful when choosing a welcoming and suggestible
spectator and we will cover more on this subject later in this
volume. It has also pinned an underlying theme of importance to
the effect as something to be taken seriously.
“I would like you to take that ring in your hand and grip it very
tightly. In a moment, not yet, something odd will happen, some
kind of sensation.” Now these lines are so unspecific that anything
could qualify as the odd sensation. They will attribute meaning to
it in their own way.
They will actually deceive themselves into thinking they felt what
you had intended to do. This is due to the simple expression of
intent you displayed. You intended for them to feel something,
they then felt something.
Obviously they will put this down to you and your magical
prowess. They at this point may not feel a thing. I normally
continue on a script of this kind with another small but powerful
linguistic trick: ‘The Honesty Suggestion’ as well as the ‘Pulse
Suggestion’ fully covered in the ‘Convincers’ section coming a
little later.
We will also look more deeply into combining the use of these
techniques in the ‘Building Block Technique’ section. Anyway, let
us continue our examination focusing our attention only on the
‘Definition = Creation’ rule.
page 21
“Now when the ring becomes warm I want you to drop it, don’t
worry I will catch it, but you have to remember to let go. It is a lot
hotter than you would think. OK?”
In my experience this simple line combined with two or three of
the ‘Convincers’ covered later will be enough to push the spectator
over the edge. The reason for asking them to drop the coin is
simple. This is stated somewhat more quietly than the rest of the
script, it will make the whole effect seem much more impressive to
the audience at large than it simply warming in the hand.
The moment in which the ring is dropped is a good theatrical
finish to the effect. It also allows me to play up the ring heat. I act
as if it is hot and drop it from hand to hand. This physical
suggestion helps to cement the idea of the ring’s heat. Don’t over-
play it. I often finish up by asking another spectator:
“Be careful, but can you feel that as well?”
You’ll notice at no time have I directly stated what will happen and
yet simply through the definition of what they are to do I have
suggested on many levels what will happen. Clearly this is no
strict model and it can be manipulated to suit whatever you may
be doing. This is the first of the building blocks that when
combined with further techniques such as the ‘Convincers’ will
create a powerhouse of deception. One need to look no further
than Orville Meyers’ classic work “Telepathy in Action” to see just
how powerful this very idea can be and indeed to what extent it
can be used.
My good friend Kenton Knepper also has some very interesting
work on such subjects contained within his priceless “Wonder
Words.”
page 22
section three
the power of silence...
...the power of silence
page 23
The Power of Silence
The power of silence is, despite seeming at first glance to be
nothing more than an oxymoron, a massively powerful technique
we have at our disposal when it comes to creating strong theatrical
routines which focus on the use of suggestion. Composers
understand that the pauses between the notes are as important as
the notes themselves. Silence informs what follows it, and it is
informed by what precedes it.
I feel this technique is hugely underused in the performance of
mentalism and bizarre magic, especially by people (like me) who
focus on the wording/scripting of an effect. Maybe sometimes we
need to consider the use of silence as "scripting" in the same way
we do those Wonder Words so close to all our hearts? This use of
silence could be seen as a use of heightened awareness and the
portal of intent. We must use it as such. Think about it. You must
reach the point where you understand what intent is. And, above
all, you must understand that knowledge cannot be turned into
words. That knowledge is there for everyone. It is there to be felt,
to be used, but not to be explained.
With this thinking you create Power within the Silence in your
performance. It becomes something theatrical and takes on a new
level of importance not only from a methodological viewpoint but
more importantly from the viewpoint of those watching the
performance.
page 24
I see silence as a powerful theatrical tool. I remember seeing Jamy
Ian Swiss perform a routine in which a ring moves inexplicably
along a pencil, in which he remains totally silent almost
throughout the whole presentation.
Many magicians assumed that Jamy was lacking a presentation for
the effect, which was in truth the complete opposite to Jamy’s well
thought out and powerful piece. Jamy had the guts to shut the
hell up and allow the power of silence, which in itself can be a
cold, chilling and impressive tool, to add power to his effect,
raising the impact in doing so.
A problem with silence is choosing the correct time to allow it to
come into your presentations, and then choosing the correct
amount of silence, before it becomes something of a joke.
I think that mentalists and bizarrists by their very nature need to
allow the power of silence to upon occasion take control and do
the work that is unachievable without it.
To allow the power of silence into your suggestion-driven routines
is a powerful way of allowing the spectator’s own imagination to
fill in the blanks and actually begin to experience what you may
have suggested to them on a deeper and more impressive level.
Leaving a suggested idea in the mind of a spectator and then
allowing them to develop it allows for a more powerful
performance than would be possible otherwise.
In my book “7 Deceptions” there is an effect called A Twisted Palm
Reading in which the lines on a spectators palm appear (to them)
to be moving and dashing around on their palm making patterns
and shapes that were not on their palm moments earlier. This is
an example of a routine in which I have to leave my ego at the
door.
page 25
I cannot take the credit for this effect - the spectator is the one
who deserves it as they are the person who will ultimately deceive
themselves. I plant the first seeds of suggestion with the scripting
and use the ‘Building Block’ technique (to be covered later), then
allow their mind to fill in the gaps and make the effect even more
wild that I could ever imagine. This is done by simply holding
their palm firmly and looking somewhat deeply into their eyes.
I say nothing. I ask them to describe what is happening. I say
nothing more until the very end of the sequence, in which I thank
them for their help. It is a powerful tool, that when wisely
employed can produce stunning results.
page 26
section four
the old witch doctor...
...the old witch doctor
page 27
The ‘Old Witchdoctor’
This term is taken from Banachek's brilliant “Psychological
Subtleties” book. It has a massive importance to play within the
methodology of the routines you are about to read. If we look at it
purely as an outsider, we see something very different from the
standpoint of the performer.
Basically it is the rule that if you spent so much time and effort in
making some kind of movement or action, it simply must have an
effect. This is the suggestion it carries anyway. In my book
“7 Deceptions” the effect entitled RGM features this and provides a
good example of exactly how and what this powerful tool creates
and how it does so.
In the aforementioned effect you appear to remove a memory from
a spectator’s mind. During the course of the effect, I request the
spectator hold their arm fully outstretched with their first finger
extended toward me. I then take a few moments and actually
close my eyes, slamming my hands together and gently rubbing
them in a circular motion against one another. I then take a deep
breath and open my eyes. I begin to slowly move my hand toward
the spectator’s. During this slow and gradual meeting of the digits
I begin with another suggestive technique covered later on in this
chapter which appears to create a sensation running through the
spectator’s finger. I suddenly and unexpectedly move my finger
very quickly toward the spectator’s. I then push the hand toward
them for a few moments. I finally finish by waving my hands for a
moment in front of the spectator’s eyes, while I ask them if they
page 28
can remember. They invariably cannot. I then allow my arm to fall
under its own weight and relax myself, taking a few moments to
allow the silence to add to the general effectiveness of what has
just happened.
Just place yourself in the shoes of a spectator for a moment. Ask
yourself why would the performer possibly go to that effort and
spend that amount of time on something that served no purpose
whatsoever? The obvious answer is he didn’t. What he did had
some kind of effect, without it he could not do what he set forth
to. This is an extremely powerful suggestion technique. One I
make as much use of as possible. It really helps to drive home the
suggestions and more often than not makes for a visually
appealing routine.
The secret to this technique is appearing 100% at ease with what
you are doing, appearing as if you are sure of the outcome.
Another example of this, not strictly the same but it can be put to
good use when combined with the techniques under discussion, is
the use of a reward. Let me explain. I personally try to avoid the
use of ‘bets’ or ‘wagers’ in my own performances as I feel it
encourages the setting up of a challenge attitude in which my
spectator is more interested in the effect failing rather than of its
success. However, I have no doubt in my mind that some
performers can make stunning use of such things. The very act of
placing a large amount of money onto the table and telling
someone you will give it to them if you fail says a lot without
saying anything. The spectator begins to think that you are either
so good at what you are about to do that there is no way you can
fail or that what you are doing has a very slim chance of failure.
Whether or not these are good things to be suggesting to your
audiences I will leave up to you. However, I am sure that in the
right hands the use of a ‘wager’ can be a powerful and useful
addition to your arsenal of presentational gambits. Finally, I must
state that some good acting skills can really be useful here.
page 29
Without wanting to sound too much like a new-age tree-hugging
hippy, I could almost be pushed to say that the real work behind
this technique is to simply believe that you can do what you claim
to do. If you believe in it, you will communicate this on many
levels without ever attempting to. This will make the whole affair
appear with more conviction and make the suggestion a hell of a
lot stronger.
Many experienced performers have discussed the concept and use
of The Silent Script, so I am not going to go into the ins and outs
of the subject as I am sure you are already familiar with it. I will
however cover one notion regarding the use of the Silent Script.
It is my honest opinion that if we do not believe in the material
and that we have this, for the want of a better word - this power,
I feel that our performances will not succeed in the way we want
them to.
Firstly, the notion that everything we do is ‘suggestive’ is very
powerful. I have wondered how far we can take this through the
use of suggestion. How explicit do we have to be about, for
instance, our performing character and its biography? Is it
possible to say more by saying less?
As an example, when we deal with the Witchdoctor effect. I feel if
the performer doesn't believe in the cure, or you might say the
ritual, neither will the spectator. This means, therefore, that
somehow, one's interior attitude is communicated to the audience.
That even though we may appear to do the same things,
performers can vary widely in the effectiveness, because they have
different thoughts and feelings in their head and gut when they
perform.
This is a sobering thought for the dogmatically rational performer.
That he or she can't power his or her magic with the fire of belief.
page 30
My good friend Caleb Strange related the following tale that fits
nicely as an example:
“There's a famous case in the medical textbooks - forgive me if
you're familiar with it. In 1947, in East Grinstead hospital, a noted
dermatologist was operating on a boy with what appeared to be
millions of warts over his body. The young registrar said, 'Oh I've
treated that before with hypnosis'. 'Oh have you', said the surgeon
exasperated, 'then I invite you to have a go'. So a few days later,
the registrar hypnotises the boy, and within a week all these 'warts'
had gone from one arm, though the rest of the body as it was
untreated, remained as bad as ever. The registrar showed the
surgeon, who was staggered. 'Treat the rest of him,' said the
surgeon, and so the young doctor did, and the boy's skin was clear
within another week. It was then that the surgeon told the registrar
that what he had mistaken for warts was a congenital, incurable
skin condition. That it was actually impossible to treat it. But treat
it he had. This was big news all over the world, and the few
unfortunate people who suffered from this rare and fatal condition,
flocked to be treated. But the registrar was unable to treat them.
Because now he knew that he could not treat them. That somehow
his belief that what had happened was impossible, communicated
it to these other patients, and so they were unable to believe
themselves in their own recovery. Circumstances had dictated that
the registrar had hypnotised the boy erroneously believing that he
would be cured (hypnotism is good for warts), and so he was
successful. But when he knew the truth, the young doctor failed”.
I thank Caleb for his trademark thinking on the subject and, as he
normally does, he manages to make the points others would need
so many more words for.
The Silent Script is something that can rationalise internally what
it is that we as performers do. However I do not use it in the way
that, for example, it is thought that Cardini used it. I do not use it
to help my acting skills - instead I use it to covey a feeling of utter
page 31
conviction. I mention in the text for ‘The Witchdoctor’ that this
feeling of utter conviction and belief has to be something that is
communicated through your performance. This can be
communicated using many different methods. However I feel the
use of The Silent Script is the most powerful way of doing this.
As I said, I do not follow the same kind of internal dialogue as for
example it is thought Cardini used.
However I do follow an internal dialogue that revolves around me
being able to do what I claim without any problems standing in
the way. This is something that is hard to put into print - however
I hope I have made myself clear. If you can begin to use this
notion within the context of suggestion routines, I feel your
success rate will increase massively.
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section five
convincers...
...convincers
page 33
Convincers
Let me introduce the notion of a ‘Convincer’.
A convincer is something I employ after the general seed of
suggestion has been planted. It helps to fertilize the suggestion
and will, in its own right, have some kind of effect of its own.
In this section we will cover:
Convincer one: The Shadow Suggestion
Convincer two: The Honesty Suggestion
Convincer three: The Heat Suggestion
Convincer four: The Pulse Suggestion
Convincer five: Everyday Suggestions
These convincers are very useful in the structure of a suggestion
sequence. We will cover the structure I prefer when dealing with
suggestion sequences later in “The Building Block Technique”.
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Convincer one
The Shadow Suggestion.
This also falls under the section of ‘Convincers’. However, by its
self it is still a strong and useful suggestion technique. The reason
this works is threefold. You will be suggesting whatever you wish
in visual, auditory and sensorial ways. The technique basically
appears as if the performer cast his or her shadow over a
spectator’s arm. He asks the spectator to focus their attention on
the shadow and how it makes their skin feel. After this casting of a
shadow, the performer will have successfully driven home his
suggestion.
Let us look at this in more detail. As I have said this works on
several levels, which when combined, make a wonderful trio. Let
us imagine that the performer wishes to use this technique to
cement the notion of the ring that becomes hot, as spoken about
earlier. The spectator has already been effectively primed to the
idea of the ring becoming hot through the use of the ‘Definition =
Creation’ principle:
“Please hold your hand out, the one tightly gripping the ring.
Thank you. Now I would like you to just relax, take a few deep
breaths and really allow yourself to concentrate upon the way the
ring feels in your hand…
I‘m going to simply cast a shadow over your hand. You will begin
to experience those feelings, but on a much more intense level…”
I then reinforce the suggestion by employing the ‘Power of Silence’
principle and slowly move my hand over the spectator’s. I stare
intently at the shadow. I then move it slowly along the spectator’s
page 35
arm and then back down to her hand, all the while remaining
silent. I then stare her in the eyes and repeat this action while
stating the following:
“See how that makes your arm feel colder but the ring hotter?
Weird isn’t it. Just watch that shadow and feel what it does to you.
Take another deep breath for me.”
This is clearly not something you can use in every effect - but when
used in the right context it becomes a very useful ‘Convincer’.
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Convincer two
The Honesty Suggestion.
This is a very interesting and also powerful little technique that I
make use of in almost all my effects. It is interesting for some very
simple reasons. I actually come out and state:
“Don’t lie to make me look good...I mean if you don’t feel anything,
you don’t feel anything. It sometimes takes a while, but just wait
for it. It will happen - it is always different with each person as
each person thinks and feels in differing ways.”
This is useful for several reasons. Firstly it will add believability
when the spectator does begin to describe what he or she is
feeling. It also suggests to them, that whatever you claim they will
feel, will happen - it may take a while, but it will happen.
page 37
Convincer three
The Heat Suggestion
This is an effect in its own right. In effect, an object heats in
thehand of a spectator. This can be, as with all of these
techniques, molded to fit whatever sequence you would like it to.
You may wish for example to change the heat suggestion from
being direct, i.e. heating something in their hand is just a
symptom of the effect you have set out to cause. For example you
could simply use it to suggest that the spectator will feel a dart of
heat run through them. In the example of my effect RGM you
could employ this technique to cause the spectator to feel a
sudden dash of heat run through their finger just prior to the
forgetting sequence.
Here is the actual model.
“Now I don’t know when you will notice the heat which you will
begin to feel, but sooner or later it will happen. Don’t worry if it
takes a while but all of a sudden it will happen. Just let us know
when you feel it.”
Obviously this is a simple suggestion and will need developing
further if you wish to make it into a single stand-alone effect.
However when combined with all the other techniques it proves a
very useful method.
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Convincer four
The Pulse Suggestion
This is a very powerful suggestion. In fact I feel this is the
strongest of all the ‘Convincers’ covered here. The main reason for
its strength, in my opinion, is the fact that it works almost
instantly in the mind of your spectator. There are many reasons
for it happening so quickly. The most simple of all is the fact that
what you say will happen is actually a natural occurrence, but
when you place it within the context of a suggestion sequence it
appears to be anything but natural. In effect, if we again refer back
to our example of the ring becoming hot within a spectator’s hand,
it is the simple statement that an object will begin to ‘expand’ and
’contract’ within the spectator’s palm, almost as if it were to have a
pulse.
The actual methodology behind this is so simple it is almost
embarrassing. You will simply focus their attention on the object
that you have asked them to tightly grip. Now the sensation of it
“breathing” is utterly natural. It is simply due to the fact that the
grip is tight and the object is being pushed hard into the nerves of
the palm. All you need do is develop those natural feelings. This
bears many similarities to the heat suggestion in its structure but
also employs a visual suggestion.
“Would you make sure that you keep a tight grip of your ring.
Great - I really want you to focus on the feelings and shape, the
line and the curves from your ring.”
Pause for a while allowing the spectator to actually do this. Allow
them enough time to actively think about exactly what they do or
page 39
do not have in their hand.
“I’m not exactly sure when you will begin to notice those weird
feelings...”
After I state this, I simply look at the spectator’s hand and allow for
some moments of silence. I then regain eye contact and pause for
two beats before continuing:
“Like I said, I’m not 100% sure when you will notice that kind of
pulsating feeling from the ring, almost as if it were moving in and
out, breathing if you like, all by itself. You can feel it right? How
much is it moving?”
Notice the wording here. You basically force them into agreeing
that they feel it, which 99% of the time they will anyway. Now I
repeat the wording below while I make a fist in each hand and
bring them together so the knuckles of each hand are touching. I
then move the fingers of each hand away from the palm and back
into the fist shape. This appears to be like a heart beating.
“You will feel it moving in and out, breathing, almost like a pulse
within the object - correct?”
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Convincer five
The Everyday Suggestion
Finally, let me mention ‘Everyday Suggestion’.
This is a very simple notion and I will not insult you by spending
any more than this paragraph on it. Despite my brevity though,
please realize that when used in combination with the other
methods it is very useful. It is the naturally implied suggestion of
common objects and what we know to be true about them without
even having to think about it.
Here is a simple example to stimulate your thinking:
A box is held upside down and nothing falls out. The implicit
suggestion is that the box is empty. But is it?
page 41
section six
the building block technique...
...the building block technique
page 42
The Building Block Technique
Here we will deal with the structure of a suggestion sequence.
I have covered a few of the basics needed to successfully perform
the suggestion routines covered within this volume. However I
am sure you will want to take these ideas and develop them in
your own ways. In my mind the most important of all the
suggestions to think carefully about are the convincers. They will
increase the impact and if they are chosen correctly, and framed
properly, they will strengthen any effect in which you use them.
I generally use the suggestions pretty much in the order of which
they are listed opening with some kind of Definition = Creation
statement, then moving onto a few Convincers. I then, if the effect
is correct, employ the Power of Silence principle and finish off the
sequence with a few more convincers.
Now let us come to something we have not dealt with yet. The
combination of classic magical methods with those we have
covered. This to my mind is a very potent and wonderful mix, as
together they complement one another and can make for some
utterly compelling magic. Now obviously, throwing a few
‘suggestions’ into your Run Rabbit Run routine would not be such
compelling theatre. However, if you can structure your magic
routines to include these elements of suggestion you will have a
win - win situation. You have the magical effect to fall back on if
the suggestions were not as successful as you had hoped, however
if they were, you have doubled the impact of your routine. All the
time you are risking nothing.
page 43
Take for example the standard Ring Flight. If you were to use the
Hot Ring effect we have discussed as our example before vanishing
the ring, then you will have actually made the ring vanish in a
much memorable way than a simple false transfer
.
In the context of mind-reading routines it is very useful to combine
these techniques and for me this is where they are the most
powerful. Why not attempt to use a suggestion sequence during
your centre tear routine to actually have the spectator believe they
physically felt their thought jump from their mind? This very effect
is covered in the effect The Burst Bubble. It is something that I
have enjoyed great success with and I urge you to try it out - I’m
sure you will enjoy performing it as much as I do.
Your imagination is the only limit facing you. If you are willing to
keep pushing things forward and to try something more daring
than the last every time you perform, you soon will be discovering
the true power of these techniques. It is with this mind set that
some of my favorite material has been created and it is this same
mind set that I urge the reader to develop when creating their own
material.
page 44
section seven
What Are You Suggesting by
Using Suggestion?
What Are You Suggesting by
Using Suggestion?
an essay by Kenton Knepper
page 45
What Are You Suggesting by Using Suggestion?
an essay by Kenton Knepper
When I was growing up in magic, I was instructed adamantly to
learn all I could about psychology and human beings. I was told in
no uncertain terms that this was a major key to success in magic,
and in life. Fortunately, I listened to that instruction somewhat.
Luke asked me to say a little something on the subject of modern
suggestion use, as I have become a major figure in forcing
suggestion back into magical performances. There is no doubt
that there were others before me, please understand. But as these
people’s works became dismissed as “mystical” or “difficult”,
psychology and suggestion faded from the view of most
performers. I am delighted I have had such a part to play in
bringing such matters back to where they belong - magic.
By “magic” I mean performance magic and 'mentalistic' magic -
sometimes oddly renamed “mentalism”, though it is nothing of the
sort. Suggestion has never lost sway in actual mentalism or those
who practice what they consider “real magic”. Suggestion and
mentalism is nearly synonymous, for instance. Recently I was
speaking to a well-known mentalist and magician from another
country. He states as a fact that his success and his creativity are
due to nothing other than suggestion.
So, it is strange indeed that if suggestion has such magical power
within our minds, we should ignore it in magical and mental
performance. Houdini, Thurston, Kellar, Blackstone, Orville Meyer,
Ormond McGill, Peter Reveen have all used suggestion personally
and professionally. If the famed and talented wonder workers of
our past made use of such concepts, as does our modern day elite,
page 46
then why wouldn’t the rest of us?
I spent a great deal of time on suggestion in Wonder Words. I
made what some believed an outlandish statement back then:
“Everything is a suggestion”, if you but use it and become aware.
Since then, many others have followed along to support such a
claim.
But what is suggestion? One definition is a “subtle command”.
Unfortunately, too many believe a “command” means a “demand”.
If you demand something, it is rarely an unconscious doing.
Suggestion is more hinting at what you wish to be done. You must
be prepared that these hints can be missed by the thick-headed or
wandering mind. I imagine that is what frightens performers. They
think that there may be a high rate of failure, and no act can be so
unreliable. Such performers forget that fingers fumble, electronics
stop, mechanics break, assistants miss cues, props stick, and so on
too. These performers suffer from the delusion that the magic they
do is foolproof - when secretly they know it is not.
Let me try and put your mind at rest now. I have taught
performers how words were used in everyday speech to create
assumptions and illusions - normal people do this everyday of
their lives. I suggested that performers do the same thing - but
consciously be aware of the word illusions when using words.
Suggestion is similar. We use suggestion on others and ourselves
daily. Why not take advantage of this secret influence in our
performances - just by being consciously aware of that which we
already do.
How do we use suggestion? We consider other ways to make
direct statements. We hint at things we might otherwise say out
loud or directly. We know that body movement, words, daily
experiences, and mental processes all have ways of hinting at
things rather than pointing them out directly. A person need not
say to you “I am upset” as you can see by that person’s movement,
page 47
tone of voice, look in their eyes, how they react and think and so
forth that they are not happy. The cues, which give you this
information, are one meaning of suggestion. The person does not
say anything directly, but everyone in the room is aware of what
these hints mean.
Various actions naturally suggest ideas to our minds. A cup with a
light steam coming from within it suggests a hot beverage. Our
minds take shortcuts to information. This occurs out of necessity.
It would take our mind forever to process something if it could not
go back through our experience and make certain generalisations
and assumptions. This is, in part, how suggestion works. I dump
a deck of cards out of a card case and toss the cards aside. The
suggestion is that this case is now empty. It need not be, but
most people will now assume that it is. If however, I said directly
“The case is empty, so we will put it aside over here” - now I have
aroused suspicion! We have been taught not to say, “This is an
ordinary deck of cards” as it arouses suspicion. What was missed
was the reason this caused such a negative response. Suggestion
is most often taken as assumed fact, whereas direct comment and
action are up for conscious and intellectual debate.
Suggestion is not so much about conscious awareness, which is
why it slips by unnoticed. Ideas sneaked into the minds of an
audience by suggestion are generally accepted, as they are not
consciously, critically, challenged. The same concepts presented
to an audience directly are open to scorn, debate, and ridicule. As
we would all like to avoid as much of the latter as possible,
suggestion is a simple, magical, solution.
I have long taught an arcane formula as applied to performance:
Definition = Creation
That is by defining a thing, we create it as apparent fact.
Advertisers and scientists do this constantly. Why not magicians
page 48
and mental performers? By labelling anything, we create certain
suggestions inherent within that label. I have done this in many of
my works. Luke uses it here in his many presentations. Luke and I
combine this formula with other methods of suggestion, and many
of our friends have followed. This is often the secret behind what
appear to be our miracles.
We also use suggestion by not labelling anything directly. I have
taught, as have others, that silence has its own power and its own
importance. It also has its own suggestion within it - though this
varies within the context it is used. Likewise, saying or doing
things that cannot be easily defined suggests something as well.
Often it suggests some hidden, occult, power or secret meaning.
Luke takes advantage of this, as have I when I first wrote of “non-
sense” and later Banachek of “The Old Witchdoctor”. While not
often discussed, it is the suggestion in such acts that make them
powerful.
What has now become labelled “convincers” is of course a
suggestion meant to reinforce a previous suggestion. It is also
often a subtle link between a physical likelihood and a label. This
method may also be used to link a suggestion with a visual, audio,
or feeling hint. Whatever happens, this is labelled too, so that the
facts reflect the original premise.
I talked about the “Duh” factor in Wonder Words and other
writings. This is when a suggestion is made - hinted at - based
upon common experiences. Luke uses this notion in many of his
effects. While what I encouraged in Wonder Words may have lead
many performers to including metaphors in their works, I
especially enjoy Luke’s rose effect in this book. It is my kind of
enchanting magic, with a message both direct and metaphorical,
spoken and symbolic.
One more concept which Luke uses that you might like to
consider: When many things are said or suggested, and one of
page 49
them is acknowledged to be true by a spectator, all the rest will
also be believed to be true, generally. This is not one hundred
percent, as truly outrageous and obviously impossible claims may
be dismissed. But overall, suggestion indicates that if a spectator
answers in the affirmative, it is all true. This is a portion of my so -
called “multiple reality” or “dual reality” principle, as it has been
dubbed since Wonder Words, and Luke uses this very well.
Keep in mind how labels create supposed reality by suggestion.
Think of how silence and words both can hint at ideas known and
unknown. Consider how suggesting ideas to your audience
indirectly could be used rather than relying on direct statements.
Ponder how physical motion and meaning can be used to hint at
an effect. Dare to try and keep practicing, as one must do in all
performing arts regardless of technique or method. Keep the idea
of indirectly performing as well as directly entertaining. Do these
things as you read through Luke’s book, and you will better
understand the thoughts and principles behind it.
Luke of course first placed some of his material in my manuscript
“Miracles of Suggestion”. Later, I was pleased to pen his very first
booklet for him. Some of his works in these manuscripts have
already become classics. Surely this new book will be viewed
much the same.
I am thrilled that I have been thought at all a teacher of such fine
students and methods as the last two generations of miracle
workers have produced. To have such influence in these fine
performers and thinkers is indeed a great honour and blessing. No
doubt how Luke applies these concepts will be a blessing to you
and your performances too.
Enjoy the mysterious and indirect ride.
Kenton Knepper
2003
page 50
section eight
mixing magic and mentalism...
...mixing magic and mentalism
page 51
Mixing Magic and Mentalism
I personally have issues with the mixture of traditional magic with
strong Mentalism. I feel that to switch from a compelling
demonstration of psychological influence and thought reading to a
sponge ball routine will raise several unwanted questions about
your performance.
However, I do feel able to combine magic and Mentalism if the
magic is ‘correct’. Let me explain. You will see in the second
section of this volume a collection of some ‘magic’ effects. They
are, however, hinting at a side of magic that a sponge ball routine
couldn’t possibly. I have never exclusively confined my
performances or repertoire solely to Mentalism. The majority of
the material I have put in print does not actually fall under the
standard definition of Mentalism. The effects that I am most
proud of and draw the best and most resonant reactions from my
audiences are certainly not Mentalism in the traditional sense.
One effect that I include in all of my performances and which
appeared in my book “7 Deceptions” is called For Andruzzi. In
effect, the pulse of the performer slows and eventually stops. The
performer then continues and actually appears to stop of the pulse
of a spectator! This is in no way traditional Mentalism. It does
however seem to fit perfectly within the constraints of a Mentalism
set. Another of my effects in which, during the course of a palm
reading, the lines of the spectator’s hand begin to wildly dance
around on their palm, is similarly avant garde. Again, however, it
fits perfectly in my Mentalism set.
page 52
Clearly, Hippity Hop Rabbits does not fit my style. However, I do
feel able to mix a darker form of magic with Mentalism and
Suggestion to make a fresh performance. Some people will throw
in the term ‘Bizarre Magick’ when such concepts are spoken of. I
do not class myself as a Bizarre magician. I do feel at times I draw
from the world of Bizarre Magick in order to create what in my
mind is the strongest possible effect but again I do not commit
myself to the strict term Bizarrist. I feel that my performances
actually fall somewhere in-between the two worlds of Mentalism
and Bizarre Magick.
I feel that this combination can create such stunning and
compelling presentations that I could not possibly commit myself
totally to just one genre.
In my own performances I have been known to mix many different
‘powers’ within one performance, but often my effects have a
central THEME. Here lies the rub.
Some routines in this volume are comprised of several effects
which on the surface seem unrelated. It is only when a closer look
is taken that these effects tie together. They all revolve either in
presentation or direct effect around emotion.
I do, as those of you who have seen me work or read my other
books already know, tend to focus mainly on my ‘Suggestive
Mentalism’ set more than other parts of my repertoire. Even when
using other routines though, I always try to either tie an emotional
hook directly into the presentation or affect a spectator
emotionally via the actual workings of the effect.
I feel that the group you are working for dictates just what you can
and cannot do before crossing the line. Upon occasion, if the
mood is right, I perform an effect in which a scar appears and then
heals itself on my palm. This is an effect that if presented at the
wrong time could easily ruin the credibility of the rest of my set.
page 53
I use this as an example of why it is important to stay flexible and
be able, if the mood is right, to push things forward but always
keep the performance strong. Rick Maue offers a lovely
assessment of good theatrical performance being like the wind. It
is inexplicable and invisible, moving as it chooses and affecting all
in its path. This I feel is a very good mind set to be in and the one
I try to put myself in when constructing