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 3510
by Luke Jermay
INTRODUCTION [Excerpt]
As I write the introduction to this book I am on a flight from Las
Vegas to Los Angeles. I am presented with exactly forty-five minutes
to sum up my feelings about the book.
A lot has contributed to the style in which this book has been
written; among other things a recent transatlantic relocation from
the UK to the USA to make a home in Las Vegas. I now find myself a
married man, and to top it all off I have even begun work on that
traveling freak show I have been dreaming about for oh so long. As I
write this I am currently on my way out of Las Vegas--the magical
capital of the world--feeling very ill from the extreme turbulence
on an otherwise uninteresting flight. Vegas is a town that has in
the short while I have lived here already deeply affected my
approach to magic and mentalism. Las Vegas really is the best place
in the world to see both great and terrible magic. From the best of
the best to the worst of the worst, Vegas is your place.
The bulk of this book was written as I lived and worked as a
traveling performer. Much of the book being written on planes, in
hotels and while generally on the road. There really is a great
advantage to having a mobile office. As one of the publishers of
this book would say: “as long as there's a Starbucks, we're good to
go.”
The book was written in this fashion with my thoughts being
collected in essay form while on the road. Now, looking back over
it, I find it a genuinely nosaltigic read. The task of elaborating
on my traveling essays to make them more complete and lucid was much
like reading an old travel journal or diary from years past.
Certain essays remind me of specific performances and places. Others
remind me of various TV shows I have worked on. I hold many good
memories attached to the writing in this book and some not so good
memories.
The one thing the ideas presented in this book all have in common is
that they were formed in part because of the countless “bad” magic
and mentalism shows I have encountered on my journeys. From live
performances to certain recent “TV Stars”, bad magic is simply bad
magic.
It is these “bad magic/mentalism shows” that are the true
inspiration for this book. Without having witnessed so much bad
magic and mentalism I would never have been moved to examine my own
performances at a deeper level. It was this examination triggered by
these performances that inspired my feelings and thoughts as
recorded in this book. So in a way I have all the shows that have
made me feel sick watching to thank for their inspiration in
questioning my own performances at a deeper level.
It is my hope that you enjoy what is presented in this book. You
will of course not agree with everything I have written, and this is
the whole point!
The best thing I could ever hope to achieve with this book is to
encourage you to question your own performances in the same way I
have questioned my own. If you do this, we together are fighting
against those “bad magic/mentalism” shows I know we both hate so
much. Together with our love for the art that has given us so much,
we now have the chance to give it something back. Lets keep magic
and mentalism as exciting to our audiences as it is to us.
Enjoy your journey and maybe our paths will cross along the way.
With all sincerity I am;
Luke Jermay
Beginning his descent into LA, 2006.
CHAPTER ONE
DEVELOPING COMPELLING DEMONSTRATIONS
This chapter outlines my own personal beliefs on presenting
contemporary mentalism. From the structure of an effect to building
a routine and a show. Each point is complete with working examples
from my own repertoire.
CHAPTER TWO
A WORKING EXAMPLE OF MY GUIDELINES
In this chapter we handle a working example of all the guidelines
outlined in chapter one by creating and applying these rules to an
effect.
CHAPTER THREE
AN APPROACH TO “PROP FREE” MENTALISM
A brief look at performing modern mentalism without the aid of
apparatus and props of any kind. This chapters features a breakdown
of what I think are the most useful methods for a performer to have
in his or her tool box when it comes to performing mentalism with no
psychical props at all.
CHAPTER FOUR
THE DEVIL IS IN THE DETAILS
This chapter outlines the attention to detail that I feel is needed
to make a truly compelling performance. It also features a working
example of how applying the small touches to an effect can make all
the difference.
CHAPTER FIVE
PRESENTATIONAL TOUCHES
A collection of presentational additions that can be added into many
effects that you already perform as well as all the effects featured
within this book. These range from the use of a slinky as a pendulum
right the way up to saying the alphabet backwards and writing inside
out verse. These touches are used throughout the book to build
compelling demonstrations and will be referenced throughout from
this chapter.
CHAPTER SIX
TOUCHING ON HOY – THE REAL WORK
This chapter features possibly the strongest, prop free, anywhere,
anytime demonstration of mind reading available to the mentalist.
Featuring brand new work on my original effect as well as three
different effects that are achieved with the same basic conceptual
methodology. This chapter also includes new work on the effect
eliminating the need for a psychological force, a new and bold out
for the brave performer, a new idea from which a miracle could
spring “the Stranger’s Name Concept” and also features a guest
contribution from Chicago’s Chris Carter.
CHAPTER SEVEN
HAIL DUNNINGER – A PRINICPLE AND AN EFFECT
In this chapter I take a closer look at the “Dunninger Ploy” and
describe its use in relation to a card effect using a prop you
almost certainly already own.
CHAPTER EIGHT
A LOOK AT TV MAGIC/MENTALISM FROM EDITING TO BROADCAST
Here I share my personal thoughts on the world of TV magic. From
selective editing to pre-show work and dirty “camera tricks”.
CHAPTER NINE
STANDING ON THE SHOUDLERS OF GIANTS
This chapter is a work inspired by my influences. As performers I
truly think we are building everything we perform on the work of
greats from the past. Here I share three routines that I feel are
directly inspired by Canasta, Dr. Jak’s and Koran.
CHAPTER TEN
MENTALISM WITH PLAYING CARDS
This chapter features mentalism with playing cards. All neatly piled
together so those who would rather poke themselves in the eyes with
anthrax covered magic wand than mix mentalism and playing cards can
simply skip.
CHAPTER ELEVEN
SUGGESTION
A chapter featuring effects that mix the classic methods of magic
and mentalism with suggestive techniques to create bold and new
effects never before possible.
CHAPTER TWELEVE
A BRIEF JOURNEY INTO THE BIZARRE
No skulls, altars or sacrificed goats rather Mentalism with a
surreal twist. From making time stand still, traveling backwards in
time, scars healing themselves, incredible coincidences, a game of
life and death, demonstrating your "grift sense" while charmingly
stealing from your spectators, revealing innermost fears and
stealing watches with your psychic power Its all very odd. Featuring
guest contributions from Morgan Strebler, Craig Browing and Liam
Montier.
CHAPTER THIRTEEN
ZEROING IN
Methods to zero in on the correct spectators for your effects. This
features a cold approach to working with suggestive methods as well
as a honing method design for the stage performer and a method
designed for the close up worker.
Pages 177 - Hardbound
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