Ted Annemann - Annemann's Card Magic

John J. Crimmins

Description

This book contains an unabridged republication of the two volumes, 'Full Deck of Impromptu Card Tricks' and 'Ammemann's Miracles of Card Magic'. Complete with 48 illustrations and simple, easy-to-follow instructions, this book is ideal for the inexperienced magician and makes for a worthy addition to collections of magic trick literature. The chapters of this book include: Extemporaneous Magic, Tricks with Two Decks, Tricks using ''Short'' Cards, Card Transportations, Poker Demonstrations, Spelling Tricks, Simple Prearrangements, Addenda, Worth Knowing, Impromptu Tricks for Every Occasion, Tricks with Duplicates & Short Cards, Tricks with Faked & Double Faced Cards, and many more. We are proud to republish this antique text now complete with a new introduction on card tricks.

Sujets

• Magic (illusion)
• Magic Lessons
• Card manipulation
• List of magic tricks

Informations

• Publié par: Read Books Ltd.
• Date de parution: 16 octobre 2020
• Nombre de lectures: 0
• EAN13: 9781528763370
• Langue: English

Extrait

Ted Annemann
ANNEMANN S CARD MAGIC
An Unabridged Republication of the Two Volumes Edited by John J. Crimmins, Jr.
TED ANNEMANN S FULL DECK OF IMPROMPTU CARD TRICKS and ANNEMANN S MIRACLES OF CARD MAGIC
With 48 Illustrations by NELSON HAHNE
Copyright 2013 Read Books Ltd. This book is copyright and may not be reproduced or copied in any way without the express permission of the publisher in writing
British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library
Magic Tricks
Magic is a performing art that entertains audiences by staging tricks, or creating illusions of a seemingly impossible, or supernatural nature - utilising natural means. These feats are called magic tricks, effects, or illusions. Some performers may also be referred to by names reflecting the type of magical effects they present, such as prestidigitators (sleight of hand), conjurors (purportedly invoking deities or spirits), hypnotists (involving individuals mental states), mentalists (demonstrating highly evolved mental abilities) or escape artists (the art of escaping from restraints or traps). The term magic is etymologically derived from the Greek word mageia. Greeks and Persians had been at war for centuries and the Persian priests, called magosh in Persian, came to be known as magoi in Greek; a term which eventually referred to any foreign, unorthodox or illegitimate ritual practice.
Performances which modern observers would recognize as conjuring have probably been practiced throughout history. But for much of magic s history, magicians have been associated with the devil and the occult. During the nineteenth and twentieth centuries, many performers capitalised on this notion in their advertisements and shows. In the UK, this association dates back to Reginald Scott s The Discoverie of Witchcraft, published in 1584, in which he attempted to show that witches did not exist, by exposing how many (apparently miraculous) feats of magic were done. The book is often deemed the first textbook about conjuring, but all obtainable copies were burned on the accession of James I in 1603, and those remaining are now very rare. For many centuries, magic was performed either on the street as a type of entertainment for the common masses or at court, for nobility. During the early 1800s however, large-scale magic performances began making their way onto the theatre stage. Modern entertainment magic owes much to Jean Eug ne Robert-Houdin (1805-1871), originally a clockmaker, who opened a magic theatre in Paris in the 1840s. His speciality was the construction of mechanical automata which appeared to move and act as if they were alive; a feat which wowed his audiences for many years.
The escapologist and magician, Harry Houdini took his stage name from Robert-Houdin and developed a range of stage magic tricks, many of them based on what became known after his death as escapology . Houdini was genuinely skilled in techniques such as lock picking and escaping straitjackets, but also made full use of the range of conjuring techniques, including fake equipment and collusion with individuals in the audience. In the modern day, these forms of magic easily transferred from theatrical venues to television specials; a transition which has opened up myriad new opportunities for deceptions. It has also brought stage magic to vast audiences, as most television magicians perform before a live audience, who provide the remote viewer with a reassurance that the illusions are not obtained with post-production visual effects. Some modern illusionists believe that it is unethical to give a performance that claims to be anything other than a clever and skilful deception. Most of these performers therefore eschew the term magician (which they view as making a claim to supernatural power) in favour of illusionist and similar descriptions. On the other side of the coin, many performers say that magical acts, as a form of theatre, need no more of a disclaimer than any play or film; this viewpoint is reflected in the words of magician and mentalist Joseph Dunninger, who stated that for those who believe, no explanation is necessary; for those who do not believe, no explanation will suffice.
Although there is also discussion among magicians about how a given effect should be categorised, they broadly fall into the following categories: Production (where the magician produces something from nothing; a rabbit from a hat for example), Vanish (where something disappears), Transformation (where a silk handkerchief may change colour), Restoration (where the magician will destroy an object, then restore it to its original state, Teleportation (where a borrowed ring may be found inside a ball of wool, or a canary inside a light bulb), Levitation (where the magician, or some person or object defies gravity), and Prediction (where events are predicted under seemingly impossible and unexplainable circumstances).
Card Manipulation
Card manipulation is the branch of magical illusion that deals with creating effects using sleight of hand techniques involving playing cards. Card manipulation is often used in magical performances, to great effect, especially in close-up, parlour and street magic. Some of the most recognised names in this field include Dai Vernon, a Canadian magician with considerable influence, specialising in sleight of hand, Ed Marlo, an American born magician who referred to himself as a cardician , and Alex Elmsley, a Scot who was notable for his invention of the Ghost Count or Elmsley Count, creating various mathematical card tricks, and for publishing the mathematics of card shuffling. Before becoming world famous for his escapology act, Houdini billed himself as The King of Cards .
Cards have a long and illustrious history, they were first invented in Imperial China, and specimens have been found dating back as early the ninth century, during the Tang Dynasty (618-907). Female players were some of the most frequent participants, and the first known book on cards, called Yezi Gexi (presumably written in the 860s) was originally written by a Tang era woman, subsequently undergoing additions by other Chinese scholars. By the eleventh century, playing cards could be found throughout the Asian continent. During the Ming Dynasty (1368-1644), characters from novels such as the Water Margin were widely featured on the faces of playing cards. Playing cards first entered Europe in the early fourteenth century, probably from Egypt, with suits (sets of cards with matching designs) very similar to the tarot suits of Swords, Staves, Cups and Coins (also known as disks or pentacles). These latter markings are still used in traditional Italian, Spanish and Portuguese decks. Playing cards were first formalised into something closely resembling our modern deck in the seventeenth century, but the joker was only introduced by the USA in the 1870s.
As props, playing cards have only become popular with magicians in the last century or so, largely due to their inexpensive nature, versatility and easy availability. Although magicians have created and presented myriad of illusions with cards (sometimes referred to as tracks), most of these illusions are generally considered to be built upon one hundred or so basic principles and techniques. Presentation and context (including patter, the conjurer s misleading account of what he is doing) account for many of the variations. Card magic, in one form or another, likely dates from the time playing cards became commonly known, towards the second half of the fourteenth century, but its history in this period is largely undocumented. Compared to sleight of hand magic in general and to cups and balls, it is a relatively new form of magic. Common manipulation techniques include lifts , where one or more cards (normally known to the audience) are selected and identified as part of the illusion, false deals , which appear to deliver cards fairly, when actually the cards are predetermined or known to the performer, and side slips , a technique generally used to bring a predetermined card to the top of a deck. Passes, Palming, False Shuffles, False Cuts, Changes, Crimps, Jogs and Reverses are also commonly utilised manipulations.
TED ANNEMANN S FULL DECK OF IMPROMPTU CARD TRICKS

A Few Words . . . .
Card effects, such as the ones which follow, are to be welcomed at any time for that impromptu type of do aomething trick which every perpetrator of magic is called upon to do-generally at off moments when the favorite gimmick is in another suit. Just learn a few of them and you ll be ready at the drop of a hat to pick up your host s deck and maintain your reputation.
These 52 tricks were favorites with Ted Annemann and the majority bear the earmarks of his genius for substituting subtlety where difficult sleights would ordinarily have been called for. Among the effects are contributions by such famous card men as Dai Vernon, Dr. Daley, Jean Hugard, Al Baker, Audley Walsh, Stewart Judah, and many others. All the tricks bear Annemann s endorsement as well as the acclaim of the readers of the early issues of THE JINX Magazine, now out of print.
We know you ll enjoy doing these tricks, as each one has been streamlined to obtain the maximum of effect with the minimum of effort. We feel sure, too, that you will prize this collection of 52 impromptu card tricks and that this book will prove to be one of the most popular books in your library.
MAX HOLDEN J. J. CRIMMINS, JR.
CONTENTS

EXTEMPORANEOUS MAGIC
The Card On The Ceiling
The Undercover Mystery
The Walk Around Discovery
Locatrix
Audley Walsh Coincidence
Up and Down
Wise Guy Catch
A Story Of Crime
The 32 Card Mystery
The Card Angler