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Koincluding Observations

Under the above heading the author intends giving magical friends the benefit of his experience, not so much as regards the actual working of tricks, but as to the correct method of presenting same to an audience. He is aware that a great deal has already been written on this allimportant subject in the numerous excellent treatises on sleight-of-hand in existence, but he hopes that, at the least, these few remarks will prove interesting to conjurers.

The writer assumes in the first place that the reader will be performing one or more "sleights" or "combinations" described in the foregoing pages. This being so, the author advises the performer not to present the trick in detail as hereinbefore described. He should take the idea of a certain trick as his foundation, so to speak, upon which to build up his illusion.

This will not be found at all difficult of accomplishment, but will, on the other hand, probably create in the mind of the artist a sense of originality hitherto absent. In conjuring, as in all other professions, originality stands pre-eminent as the root of success, and, unless the aspirant for honors in the magical world possesses a certain amount of absolute originality, the author fears his chances of even making a respectable livelihood are very remote indeed.

When a particular performer introduces a new idea the same is immediately copied and imitated ad lib, but the imitators and copyists never do much, for the simple reason that they are looked upon as not possessing sufficient originality to produce a novel act. Almost without exception all the imitators of "The Miser's Dream" that the author has witnessed have, in the course of their entertainment, used his original patter, word for word. This can be excused in young conjurers starting up the ladder, but when certain performers, each with something of a reputation, not only perform the identical tricks, but use exactly the same boniment, it certainly does not add to their reputation, but, on the contrary, undoubtedly does it injury.

The author was present a few weeks since at one of the most popular places of entertainment in London, where a certain "greatest one that ever lived," etc., was "doing" "The Miser's Dream," with some of the additional effects described in this book, and for each particular experiment the performer spoke the exact patter as used by the writer during his extensive Palace Theater engagement. The author does not wish to appear egotistical, but simply mentions the foregoing facts to show the amateur how a reputation is "not" made.

Aspiring coin manipulators and conjurers have the writer's best wishes for their success, and should one ever do him the pleasure of calling upon him in any city where he is performing, he will be only too pleased to give him any personal advice in his power. But he impresses upon them the fact that they must invent and originate new ideas. Sit down and think, think, and think again, until an idea occurs to you; then start to work to elaborate your idea, not only into a single trick, but, if possible, into a complete act. Cards, billiard balls, handkerchiefs, cigars, eggs, flags, etc., each are quite capable of being made into a whole act. Whatever your performance may consist of, endeavor to have as little as possible on the stage in the way of apparatus or preparation. In fact, the sleight-of-hand performer who appears on practically a bare stage stands much more chance of "being talked about" than the one who has an elaborate and even costly "fit up." The latter, of course, may be pleasing to the eye, but it always savors of mechanism. A plain stage with, perhaps, a single tripod gueridon, looks far more difficult for a conjurer to work upon than the "boxed-in" curtain arrangement, now so frequently adopted by performers. Now, having originated a new act, the next thing for the performer to do is to practice and learn the proper manner in which to present it to the public. If the performer is at all "heavy" and too serious, no matter how clever his dexterity is, the audience feel the same, whereas, on the other hand, if the artist possesses a pleasing manner, fluent speech, and exhibits the appearance of being quite at home, doing nothing in a stiff or awkward manner, the audience likewise are pleased. Of course, it will be said, "Yes, that's all very well, but enormous practice and public performance are essential to a perfect stage manner." This may, perhaps, be true to a certain extent, but, nevertheless, if the novice sets his mind on presenting an act in a certain manner, and always sticks to that manner, he will find that he will not have much further trouble about stage presence.

The conjuring profession is exactly like a business of any other description. It's the one that sells his goods in a proper manner that commands success. A grocer, for instance, may have a splendid stock of goods, but, unless he treats his customers in a proper manner, he fails.

So it is with the conjurer. He may possess the greatest possible dexterity, but, unless he can present same in an entertaining and interesting manner to the audience, his success is mediocre.

Many of the leading performers of the present day rely upon old tricks; confining their originality to the method of presenting same. Any readers who may have witnessed the excellent drawing-room entertainment of Dr. Byrd Page will, the author feels sure, appreciate this fact.

This gentleman presents, almost without exception, old tricks, but dressed in such new clothing that they are almost unrecognizable. Mr. David Devant is another celebrated performer who possesses a talent for modernizing and improving old tricks. Some other performers who have long since made their reputation rely simply on the old tricks, and never trouble about anything new.

The author advises the young prestidigitateur to witness the performance of all the conjurers he can, and then not make the usual mistake and copy one artist's particular style, but endeavor to initiate a sty or manner of his own.