Magic (illusion)
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 The Conjurer, 1475–1480, by Hieronymus Bosch or his workshop. Notice how the man in the back row steals another man's purse while applying misdirection by looking at the sky. |
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Magic is a performing art in which audiences are entertained by tricks, effects, or illusions of seemingly impossible feats, using natural means. It encompasses the subgenres of close-up magic and parlor magic, among others.[1][2] It is to be distinguished from supernatural magic which are effects claimed to be created through supernatural means. It is one of the oldest performing arts in the world.
Modern entertainment magic, as pioneered by 19th-century magician Jean-Eugène Robert-Houdin, has become a popular theatrical art form.[3] In the late 19th and early 20th centuries, magicians such as John Nevil Maskelyne and David Devant, Howard Thurston, Harry Kellar, and Harry Houdini achieved widespread commercial success during what has become known as "the Golden Age of Magic", a period in which performance magic became a staple of Broadway theatre, vaudeville, and music halls.[4] Meanwhile, magicians such as Georges Méliès, Gaston Velle, Walter R. Booth, and Orson Welles introduced pioneering filmmaking techniques informed by their knowledge of magic.[5][6][7]
Magic has retained its popularity into the 21st century by adapting to the mediums of television and the internet, with magicians such as David Copperfield, Penn & Teller, Paul Daniels, Criss Angel, David Blaine, Derren Brown, and Shin Lim modernizing the art form.[8] Through the use of social media, magicians can now reach a wider audience than ever before.
Magicians are known for closely guarding the methods they use to achieve their effects, although they often share their techniques through both formal and informal training within the magic community.[9] Magicians use a variety of techniques, including sleight of hand, misdirection, optical and auditory illusions, hidden compartments, contortionism and specially constructed props, as well as verbal and nonverbal psychological techniques such as suggestion, hypnosis, and priming.[10]
History
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The term "magic" etymologically derives from the Greek word mageia (μαγεία). In ancient times, 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. Ritual acts of Persian priests came to be known as mageia, and then magika—which eventually came to mean any foreign, unorthodox, or illegitimate ritual practice. To the general public, successful acts of illusion could be perceived as if it were similar to a feat of magic supposed to have been able to be performed by the ancient magoi. The performance of tricks of illusion, or magical illusion, and the apparent workings and effects of such acts have often been referred to as "magic" and particularly as magic tricks.
One of the earliest known books to explain magic secrets, The Discoverie of Witchcraft, was published in 1584. It was created by Reginald Scot to stop people from being killed for witchcraft. During the 17th century, many books were published that described magic tricks. Until the 18th century, magic shows were a common source of entertainment at fairs. The "Father" of modern entertainment magic was Jean Eugène Robert-Houdin, who had a magic theatre in Paris in 1845.[11] John Henry Anderson was pioneering the same transition in London in the 1840s. Towards the end of the 19th century, large magic shows permanently staged at big theatre venues became the norm.[12] As a form of entertainment, magic easily moved from theatrical venues to television magic specials.
Performances that modern observers would recognize as conjuring have been practiced throughout history. For example, a trick with three cups and balls has been performed since 3 BC[13] and is still performed today on stage and in street magic shows. For many recorded centuries, magicians were associated with the devil and the occult. During the 19th and 20th centuries, many stage magicians even capitalized on this notion in their advertisements.[14] The same level of ingenuity that was used to produce famous ancient deceptions such as the Trojan Horse would also have been used for entertainment, or at least for cheating in money games. They were also used by the practitioners of various religions and cults from ancient times onwards to frighten uneducated people into obedience or turn them into adherents. However, the profession of the illusionist gained strength only in the 18th century, and has enjoyed several popular vogues since.[citation needed]
Magic tricks
[edit]Opinions vary among magicians on how to categorize a given effect, but a number of categories have been developed. Magicians may pull a rabbit from an empty hat, make something seem to disappear, or transform a red silk handkerchief into a green silk handkerchief. Magicians may also destroy something, like cutting a head off, and then "restore" it, make something appear to move from one place to another, or they may escape from a restraining device. Other illusions include making something appear to defy gravity, making a solid object appear to pass through another object, or appearing to predict the choice of a spectator. Many magic routines use combinations of effects.
Among the earliest books on the subject is Gantziony's work of 1489, Natural and Unnatural Magic, which describes and explains old-time tricks.[15] In 1584, Englishman Reginald Scot published The Discoverie of Witchcraft, part of which was devoted to debunking the claims that magicians used supernatural methods, and showing how their "magic tricks" were in reality accomplished. Among the tricks discussed were sleight-of-hand manipulations with rope, paper and coins. At the time, fear and belief in witchcraft was widespread and the book tried to demonstrate that these fears were misplaced.[16] Popular belief held that all obtainable copies were burned on the accession of James I in 1603.[17]
During the 17th century, many similar books were published that described in detail the methods of a number of magic tricks, including The Art of Conjuring (1614) and The Anatomy of Legerdemain: The Art of Juggling (c. 1675).
Until the 18th century, magic shows were a common source of entertainment at fairs, where itinerant performers would entertain the public with magic tricks, as well as the more traditional spectacles of sword swallowing, juggling and fire breathing. In the early 18th century, as belief in witchcraft was waning, the art became increasingly respectable and shows would be put on for rich private patrons. A notable figure in this transition was the English showman, Isaac Fawkes, who began to promote his act in advertisements from the 1720s—he even claimed to have performed for King George II. One of Fawkes' advertisements described his routine in some detail:
He takes an empty bag, lays it on the Table and turns it several times inside out, then commands 100 Eggs out of it and several showers of real Gold and silver, then the Bag beginning to swell several sorts of wild fowl run out of it upon the Table. He throws up a Pack of Cards, and causes them to be living birds flying about the room. He causes living Beasts, Birds, and other Creatures to appear upon the Table. He blows the spots of the Cards off and on, and changes them to any pictures.[18]
From 1756 to 1781, Jacob Philadelphia performed feats of magic, sometimes under the guise of scientific exhibitions, throughout Europe and in Russia.
Modern stage magic
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The "Father" of modern entertainment magic was Jean Eugène Robert-Houdin, originally a clockmaker, who opened a magic theatre in Paris in 1845.[11] He transformed his art from one performed at fairs to a performance that the public paid to see at the theatre. His speciality was constructing mechanical automata that appeared to move and act as if alive. Many of Robert-Houdin's mechanisms for illusion were pirated by his assistant and ended up in the performances of his rivals, John Henry Anderson and Alexander Herrmann.
John Henry Anderson was pioneering the same transition in London. In 1840 he opened the New Strand Theatre, where he performed as The Great Wizard of the North. His success came from advertising his shows and captivating his audience with expert showmanship. He became one of the earliest magicians to attain a high level of world renown. He opened a second theatre in Glasgow in 1845.
Towards the end of the century, large magic shows permanently staged at big theatre venues became the norm.[12] The British performer J N Maskelyne and his partner Cooke were established at the Egyptian Hall in London's Piccadilly in 1873 by their manager William Morton, and continued there for 31 years. The show incorporated stage illusions and reinvented traditional tricks with exotic (often Oriental) imagery. The potential of the stage was exploited for hidden mechanisms and assistants, and the control it offers over the audience's point of view. Maskelyne and Cooke invented many of the illusions still performed today—one of his best-known being levitation.[19]
The model for the look of a "typical" magician—a man with wavy hair, a top hat, a goatee, and a tailcoat—was Alexander Herrmann (1844–1896), also known as Herrmann the Great. Herrmann was a French magician and was part of the Herrmann family name that is the "first-family of magic".
The escapologist and magician Harry Houdini (1874–1926) 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 lockpicking and escaping straitjackets, but also made full use of the range of conjuring techniques, including fake equipment and collusion with individuals in the audience. Houdini's show-business savvy was as great as his performance skill. There is a Houdini Museum dedicated to him in Scranton, Pennsylvania.
The Magic Circle was formed in London in 1905 to promote and advance the art of stage magic.[20]
As a form of entertainment, magic easily moved from theatrical venues to television specials, which opened up new opportunities for deceptions, and brought stage magic to huge audiences. Famous magicians of the 20th century included Okito, David Devant, Harry Blackstone Sr., Harry Blackstone Jr., Howard Thurston, Theodore Annemann, Cardini, Joseph Dunninger, Dai Vernon, Fred Culpitt, Tommy Wonder, Siegfried & Roy, and Doug Henning. Popular 20th- and 21st-century magicians include David Copperfield, Luis de Matos, Lance Burton, James Randi, Penn and Teller, David Blaine, Criss Angel, Derren Brown, Dynamo, Shin Lim, Jay & Joss and Hans Klok. Well-known women magicians include Dell O'Dell and Dorothy Dietrich. According to the Magic Castle, around 8 percent of professional magicians are women as of 2023.[21] 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.
Many of the principles of stage magic are old. There is an expression, "it's all done with smoke and mirrors", used to explain something baffling, but effects seldom use mirrors today, due to the amount of installation work and transport difficulties. For example, the famous Pepper's Ghost, a stage illusion first used in 19th-century London, required a specially built theatre. Modern performers have vanished objects as large as the Taj Mahal, the Statue of Liberty, and a space shuttle, using other kinds of optical deceptions.
Types of magic performance
[edit]Magic is often described according to various specialties or genres.
Stage illusions
[edit]Stage illusions are performed for large audiences, typically within a theatre or auditorium. This type of magic is distinguished by large-scale props, the use of assistants and often exotic animals such as elephants and tigers. Famous stage illusionists, past and present, include Harry Blackstone, Sr., Howard Thurston, Chung Ling Soo, David Copperfield, Lance Burton, Silvan, Siegfried & Roy, and Harry Blackstone, Jr.
Parlor magic
[edit]Parlor magic is done for larger audiences than close-up magic (which is for a few people or even one person) and for smaller audiences than stage magic. In parlor magic, the performer is usually standing and on the same level as the audience, which may be seated on chairs or even on the floor. According to the Encyclopedia of Magic and Magicians by T.A. Waters, "The phrase [parlor magic] is often used as a pejorative to imply that an effect under discussion is not suitable for professional performance." Also, many magicians consider the term "parlor" old fashioned and limiting, since this type of magic is often done in rooms much larger than the traditional parlor, or even outdoors. A better term for this branch of magic may be "platform", "club" or "cabaret". Examples of such magicians include Jeff McBride, David Abbott, Channing Pollock, Black Herman, and Fred Kaps.
Close-up magic
[edit]Close-up magic (or table magic) is performed with the audience close to the magician, sometimes even one-on-one. It usually makes use of everyday items as props, such as cards (see Card manipulation), coins (see Coin magic), and seemingly 'impromptu' effects. This may be called "table magic", particularly when performed as dinner entertainment. Ricky Jay, Mahdi Moudini, and Lee Asher, following in the traditions of Dai Vernon, Slydini, and Max Malini, are considered among the foremost practitioners of close-up magic.
Escapology
[edit]Escapology is the branch of magic that deals with escapes from confinement or restraints. Harry Houdini is a well-known example of an escape artist or escapologist.
Pickpocket magic
[edit]Pickpocket magicians use magic to misdirect members of the audience while removing wallets, belts, ties, and other personal effects. It can be presented on a stage, in a cabaret setting, before small close-up groups, or even for one spectator. Well-known pickpockets include James Freedman, David Avadon, Bob Arno, and Apollo Robbins.
Mentalism
[edit]Mentalism creates the impression in the minds of the audience that the performer possesses special powers to read thoughts, predict events, control other minds, and similar feats. It can be presented on a stage, in a cabaret setting, before small close-up groups, or even for one spectator. Well-known mentalists of the past and present include Alexander, The Zancigs, Axel Hellstrom, Dunninger, Kreskin, Deddy Corbuzier, Derren Brown, Rich Ferguson, Guy Bavli, Banachek, Max Maven, and Alain Nu.
Séances
[edit]Theatrical séances simulate spiritualistic or mediumistic phenomena for theatrical effect. This genre of stage magic has been misused at times by charlatans pretending to actually be in contact with spirits or supernatural forces. For this reason, some well-known magicians such as James Randi[22][23] (AKA "The Amazing Randi") have made it their goal to debunk such paranormal phenomena and illustrate that any such effects may be achieved by natural or human means. Randi was the "foremost skeptic" in this regard in the United States.[24]
Children's magic
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Children's magic is performed for an audience primarily composed of children. It is typically performed at birthday parties, preschools, elementary schools, Sunday schools, or libraries. This type of magic is usually comedic in nature and involves audience interaction as well as volunteer assistants.
Online magic
[edit]Online magic tricks were designed to function on a computer screen. The computer screen affords ways to incorporate magic from the magician's wand to the computer mouse. The use of computing technologies in performance can be traced back to a 1984 presentation by David Copperfield, who used a Commodore 64 to create a "magic show" for his audience. More recently, virtual performers have been experimenting with captivating digital animations and illusions that blur the lines between magic tricks and reality. In some cases, the computer essentially replaces the online magician.
In a 2008 TED Talk, Penn Jillette discussed how technology will continue to play a role in magic by influencing media and communication. According to Jillette, magicians continue to innovate in not only digital communication but also live performances that utilize digital effects. The 2020 COVID-19 lockdowns ushered onto the world stage a surge of online magic shows. These shows are performed via video conferencing platforms such as Zoom.
Some online magic tricks recreate traditional card tricks and require user participation, while others, like Plato's Cursed Triangle, are based on mathematical, geometrical, and/or optical illusions. One such online magic trick, called Esmeralda's Crystal Ball,[25] became a viral phenomenon that fooled so many computer users into believing that their computer had supernatural powers, that the fact-checking website Snopes dedicated a page to debunking the trick.[26]
German magician Wittus Witt performed interactive magic tricks live on TV from 1993 to 1997. Viewers were able to call Wittus Witt live in the television studio and perform a magic trick with him directly. In total, Witt performed this special magic 87 times, every other week.[27]
Theatrical magic
[edit]Theatrical magic describes a dramaturgically well thought-out performance that has been specially designed for the theater and theater-like situations. It is not about individual tricks that are strung together, but about logical connections of tricks that lead to a story. The protagonists of this magic stage art were the German magician Fredo Marvelli,