New Era Card Tricks: The Illustrated 1897 Classic for the Modern Magician
288
New Era Card Tricks: The Illustrated 1897 Classic for the Modern Magician
288eBook
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Overview
German-born August Roterberg came to the United States as a teenager and started out as a mail-order magic salesman before opening a magic store in the lobby of Chicago's Palmer House Hotel. Roterberg changed the way magic books were written, addressing himself to professionals rather than amateurs, and taking the then-unusual step of adding illustrations. Although this 1897 classic was intended for professional magicians, its clear and detailed instructions make it appropriate for dedicated amateurs.
Product Details
| ISBN-13: | 9780486826028 |
|---|---|
| Publisher: | Dover Publications |
| Publication date: | 11/15/2017 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 288 |
| File size: | 21 MB |
| Note: | This product may take a few minutes to download. |
About the Author
German-born August Roterberg (1867–1928) came to the United States as a teenager and started out as a mail-order magic salesman before opening a magic store in the lobby of Chicago's Palmer House Hotel. He changed the way magic books were written, addressing himself to professionals rather than amateurs, and adding illustrations, which were unusual in his day. A practicing magician, he invented the Multiplying Billiard Balls trick.
Read an Excerpt
CHAPTER 1
SLEIGHTS.
The two principal sleights used in card tricks are the "Pass" and the "Force," both of which may safely be called the sine qua non of card conjuring. As the "Force" is practically the "Pass" with an addition to it, I shall first endeavor to teach my reader the "Pass," which may be executed either with both hands or with one hand only.
THE DOUBLE HANDED PASS.
The purpose of the sleight is to cause the upper and lower parts of the pack, divided into halves by the little finger, which is held between them, to change places; that is, the upper part of the pack is made to take the place of the lower one and vice versa. Usually a selected card is placed on the lower half of the pack, the upper half is then placed on top of this, whereupon, the pass is made in the twinkling of an eye, the conjurer's object, to bring the selected card from the middle to the top of the pack, being thereby attained.
For this purpose, the pack is held in the left hand, being divided into two nearly equal parts by the little finger, which is inserted between them, Fig. 2. (Most American conjurers, including myself, prefer the insertion of the third linger instead of the fourth one, as it allows the fingers to grip the packet more firmly.) The pack is now; covered by the right hand (Fig. 1), which seizes the lower half of the pack, the fingers being stationed on the upper edge of the cards and the thumb at the bottom. Under cover of the right hand, the upper half of the pack, which is held clipped between the third and fourth fingers, is drawn away till it just clears the lower half.
Simultaneously with this movement, the right hand lifts up the lower half, the root of the thumb acting as a support. Thus both packets are just made to pass each other without actually touching, both having now changed places.
A close inspection of Fig. 3 will serve to illustrate this transposition still better. The shaded part (No. 2) in the drawing, represents the lower packet, while the lighter one (No. 1) indicates the upper one. The original position of these two halves is shown in A; while in B, the upper part of the pack is represented in the act of being tilted upwards by the third and fourth fingers of the left hand. In C, the lifting of the lower packet is illustrated; in D, both halves are seen to have passed each other. E shows the new position of the two packets.
The beginner will at first find the making of the pass a rather awkward and difficult task, but as he continues to practice, the fingers will begin to become more pliable, as it were, and act in unconscious unison. In a few weeks the pass can be mastered so that tricks depending on it, can be safely exhibited. An ideal pass, which must be absolutely noiseless, quick as a flash, and practically invisible, will, however, take a year or more to acquire, and even then constant practice must be devoted to it.
THE HERRMANN PASS.
The double handed pass, that I am about to describe, was a favorite with the late Alexander Herrmann, who delighted to puzzle with it people versed in the usual sleights. In this pass, which depends almost exclusively upon misdirection, no change of the two halves of the pack can possibly be seen, no matter how close the spectator watches for it. The secret lies in the fact that the upper front half of the pack is held in an upright position. Behind this half, under cover of which the transposition of the two packets is effected, the spectator is not allowed to see.
In the first position of the two packets, the lower or, rather, the rear one, is held in the left hand, the first joints of the second and third fingers being stationed at the side of the cards, while the first and little fingers lie curled up behind it (Fig. 4). The upper, or front packet, C, is held in the right hand, in the position as shown in Fig. 4, the thumb being located above, and the fingers below the cards, exposing as much of them as possible.
Both packets are held in a perpendicular position, C being turned towards the spectators. Under cover of C, the packet B which is slipped between the fingers of the left hand is tilted downwards and passed around the front of C, being then placed on the latter. Fig. 5 illustrates the act of packet B passing around C. The two halves then occupy the position shown in Fig. 6.
After my reader has once understood the principle and purpose of this pass, he will be surprised how very useful the latter will prove in cases, where the spectator, in a spirit of contrariness, refuses to have his attention diverted by the performer's patter and insists upon riveting his eyes upon the conjurer's hands.
The best way in which to use this pass, will be to have the selected card laid on packet B, upon which C is then placed, its back being turned towards the spectators who, as we will take for granted, keep their eye on the rear card. The pass is then made under cover of C as explained, the pack being turned face upwards during this operation, thus completely disguising the sleight.
Another excellent use to which this pass may be put, is to convince the spectators that the selected card is neither at the top, nor at the bottom of the pack. The card in this case occupies the top place, the regular double handed pass is then made, whereby the card is brought to the middle of the pack, both packets being held in readiness for the execution of the "Herrmann Pass." After having exhibited the top card, the performer turns over the left hand, which holds the pack, and shows that the bottom card is not the chosen one either. In turning back the left hand into its original position, in which act it is assisted by the right, the "Herrmann Pass" is made and the desired card is thus brought once more to the top of the pack.
THE CHARLIER PASS.
As the pass of this name is by far the best one of all single handed passes, I shall describe it only. The pack is held in the left hand, as shown in Fig. 7, the thumb being kept at one side of the cards and the second and third fingers at the other side, while the first and fourth fingers lie slightly bent beneath the pack.
By slightly unloosing the thumb, the lower half of the pack is allowed to drop down into the position shown in Fig. 7, the first and fourth fingers immediately receiving this packet, and pushing it over towards the thumb, pressing it in an upright position against the latter. The upper pack is now allowed to drop down, as shown in Fig. 9, the former lower half being then placed on top of it (Fig. 10).
Although the various stages of the Charlier pass are illustrated and described, it must however, be understood that these different moves must blend into each other and be practically made one. (This same remark may be applied to the two passes previously explained.) In practising this pass the right hand ought to be left out of the play altogether, the left hand only being used in placing the cards in the position shown in Fig. 8.
The usual method of employing this pass is to hold the pack in the position shown in Fig. 7 and to request the person to insert his card in the pack thus offered to him. As he is about to do so, the performer allows the lower half of the pack to drop into the position seen in Fig. 8, thereby silently inviting the spectator to place his card in the opening thus made. The right hand then approaches the pack and shields it for an instant, at the same time the left hand is rather quickly drawn back, the right hand following, the pass being invisibly made under cover of these movements.
An improvement, or rather Charlier's original way of performing this pass, consists of allowing the spectator to replace his card on the lower half of the pack, after which the conjurer calmly allows the upper half to drop on top of it. Those of my readers, who are familiar with the "Charlier Pass" will no doubt exclaim, "Why, that is not the Charlier Pass as the selected card is now in the middle of the pack." So it is, my dear reader, but wait a moment before jumping at conclusions. If the card is in the middle of the pack at present, that is no reason why it should stay there. Neither does it. In dropping the upper half on the lower half, the performer manages so that a step is formed by the two {jackets. Firmly holding the {Jack in this position, he simply bides his chance of being unobserved, and when this opportunity arrives, with the left thumb simply lifts the former upper half of the pack back into its original position and then makes the pass in the regular fashion.
THE FORCE.
By the forcing of one or more cards is understood the sleight whereby a person is compelled, but without his knowledge, to draw such cards out of the pack, that the conjurer wishes to have selected. There is a certain indefinable something about the force, in influencing the spectator's choice in an unnoticeable manner. This part of the sleight is practically impossible to explain, but will be readily understood and learned by the beginner after the latter has made a few experiments on that subject.
But now to the mechanical part of the force itself. After requesting the spectators to shuffle the pack thoroughly, the performer receives it back and quickly notices the bottom card. In the act of advancing toward a spectator, he makes the double handed pass, bringing the bottom card to the middle of the pack, which he immediately spreads out in fan shape, requesting the spectator to select a card. Just as the spectator is about to take a card, the performer, who has in the meantime gradually passed the upper half of the cards from one hand into the other, arrives at the former bottom card, of which he has carefully kept track, and exposing this card a trifle more than the others, causes the spectator's choice, in nine cases out of ten, to fall upon this particular card. The beginner is cautioned not to commit the usual mistake of exposing or offering the desired card at too early a stage of the "Force." At the moment that the spectator's fingers are about to close on a card, the desired card must be there and not sooner.
In case the performer fails to force a particular card, the customary expedient is to request a person to retain the drawn card, whereupon the conjurer goes to a more obliging person (ladies are the easiest to force cards on) and after forcing the desired card, does the trick he originally intended to perform, after which he requests the first spectator to replace his card in the pack which is then shuffled. The conjurer then performs with this card one of the many existing tricks with a chosen card.
After a performer has thoroughly mastered the art of forcing, he can even venture to force a card while the pack is held by one hand only. The desired card in this case is the top card. In the act of advancing toward the spectator, the performer makes the "Charlier Pass," thereby bringing the card from the top to the middle of the pack, but allowing the two packets to form a step. The upper packet is then spread a little by the left thumb, but none of the cards are exposed nearly as much as the desired card, which is the top card of the lower heap. Upon requesting a spectator to kindly select a card, the latter's choice will most always fall upon the card that is exposed the most. Dependant upon this fact, is a still bolder form of forcing, the cards in this case being placed on a tray held by the performer. In arranging the cards, the performer simply takes care to expose the card or cards that he intends to force, more than any of the others.
CHANGES.
The object of all sleights of this name is to change a card held in the right hand for the top card of the pack, which is held in the left. Changes are especially useful when the performer has made a mistake, having by some accident lost the chosen card. Taking any card out of the pack, he places it, without showing its face, on the table, and boldly asserts that it is the chosen card, which he requests its owner to name. Upon thus becoming acquainted with the name of this card, he spreads out the pack, under the pretext of showing that the chosen card is not contained among the others. In reality, he quickly finds this card and slips it behind the others, thus bringing it to the top of the pack. Picking up the card on the table, he adroitly changes it for the top card of the pack, i. e., the chosen one, and exhibits it.
The changes mostly employed by conjurers, are the "Top Change" and the "Bottom Change," a description of which is herewith given.
THE TOP CHANGE.
The card to be changed is held face downward between the thumb and first finger of the right hand, while the pack is kept in the left hand, the thumb lying loosely across the back of the cards, the finger being stationed at the bottom of the pack, which of course is also held face downwards. Just a moment previous to the "Change," the thumb of the left hand secretely pushes the top card of the pack over towards the right, thereby causing it to project over a trifle beyond the rest of the cards. The hands are then brought together for an instant only, and the top card of the pack is quickly seized by the first and second fingers of the right hand (Fig. 11) which is immediately withdrawn, leaving the card it formerly contained on the top of the pack, being retained there by the thumb. The act of bringing the two hands together is generally disguised by some appropriate gesture by the performer, who, after having successfully executed the sleight, usually rubs the card on his sleeve or requests some spectator to breathe upon it, then showing that the card has changed into another.
This change, if adroitly executed, is practically impossible to detect. It is one of the most useful of sleights and for this reason ought to be practiced until the beginner is thoroughly proficient in it.
THE BOTTOM CHANGE.
In this form of the sleight, the card to be exchanged for the one on the top of the pack is left at the bottom of the latter. The pack is kept in the left hand between the thumb, which is lying across the the top of the cards and the first finger, which is placed at the bottom, the remaining fingers of the same hand being held loosely at the same place in readiness to receive the card to be exchanged, which card is held between the second and third fingers of the right hand. The hands are now brought together for an instant only, during which act the card in the right hand is left at the bottom of the pack, being inserted between the second and third fingers, while at the same time the top card of the pack, which has been previously pushed towards the right by means of the left thumb, is quickly seized and carried away by the thumb and lower part of the first finger of the right hand (Fig. 12).
As already stated in the description of the Top Change, there must not be the slightest lingering, while the hands are placed together for that very short period of time necessary to execute the change. In the same manner as the "Top Change" this sleight is generally accompanied and disguised by an auxiliary movement of the body from the right towards the left.
THE NEW TOP CHANGE.
The performer seizes the card, say the Six of Diamonds, that he is about to exchange for the top card of the pack, between the thumb and fingers of the right hand, holding the pack in the left hand as shown in Fig. 13, the top card of the pack being slightly pushed over towards the right hand by means of the left thumb.
The conjurer thus first shows the Six of Diamonds to the spectators sitting to his right, then to the ones directly opposite him, and, finally to the persons to his left. After having done so, he apparently places the card on the table to his right, but in the act of passing the right hand over the pack in the left, the Six of Diamonds is left on top of the latter, the Ace of Hearts being noiselessly seized instead and placed on the table.
THE MEXICAN TURN OVER.
This excellent and very useful sleight is so far but little known in conjuring circles in this country. It is, however, extensively used in Mexico, where professional gamblers employ it almost exclusively in playing Three Card Monte. The purpose of the sleight is to change a card lying on the table for one held in the performer's hand.
The method of procedure is as follows: The card in the right hand is held between the first and second fingers, the second finger resting on the back of the card. Holding the latter in this manner, at an angle of about 45 degrees, the conjurer pushes its side under the card on the table, thereby appearing to turn over the latter. As, however, the card in the hand has reached half way under the one on the table, the exchange is deftly made, the right thumb drawing up the card from the table, and the fingers releasing the other card instead, turning it over at the same time.
The sleight is not at all difficult to acquire, but must be quickly performed, in which case the illusion will be found to be an excellent one.
(Continues…)
Excerpted from "New Era Card Tricks"
by .
Copyright © 2017 August Roterberg.
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