Hiding the Elephant: How Magicians Invented the Impossible and Learned to Disappear
Teller Jim Steinmeyeramazon.com
Hiding the Elephant: How Magicians Invented the Impossible and Learned to Disappear
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He admired Kellar but felt he was "the last of the old school magicians," later writing that in Kellar's show, "mystery came first with him; entertainment was not considered."
In books of tricks, the recipe is specific-here's the effect and here's the method-implying that executing and concealing the secret is always the ultimate goal of the exercise.
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The Davenport brothers were quiet by nature, but early in their career they must have realized that the secret of their success was to say absolutely nothing.
Several magicians I've met remembered, with a certain horror, the occasional string of four-letter epithets from Thurston; with his particular eloquence, he could use them to good effect.
"In fact," Gibson believed, "Thurston was probably better known than Houdini. Still, every bit of Thurston's publicity was about getting you into the theatre to see the show. And Houdini's publicity was about creating a legend. As each year passes, Houdini becomes more and more famous, and Thurston is forgotten."
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On a practical level, Maurice had simply reversed the equation. Stand the actor on the stage. On top of him, reflect the image of a portion of an empty room. The actor disappears.But on the level of marvels, it was an astonishing idea. After all, for centuries, mirrors