Selwyn House School - Yearbook (Montreal, Quebec Canada)

Page 31 text:

FOR THE SCHOOL YEAR 1941- 19-11 obtain a coin or gimmick secretly, or to deposit some previously vanished article in a secret pocket. Also special wands can be made for vanishing cigarettes, handkerchiefs, etc., or for producing candies or plumes. Again, gesturing with the magic wand materially assists misdirection , or leading the spectators' eyes away from the hands at a vital moment, and thus helps to ensure the success of the trick. Therefore the wand is a most practical object for the conjurer to possess, as not only does it lend an air of mystery to the performance, but it is an extremely handy object when used for a definite purpose. :Xn example of how the magic art has become modern is the almost universal em- ployment of simple objects. Fifty years ago a con-iurer's show was filled with peculiar covers for objects, large globes, papier mache heads, and similar objects which could only have been made expressly for conjuring purposes, and which usually couldn't be examined. The modern idea of tricks is to use only everyday ob-iects in a programme, and a few magic- ians specialize only in one branch of articles. Cards, coins, handkerchiefs, rings, cigarettes, balls and 'cigars now form a main part of the magician's equipment, and the wonderment of the audience is increased tenfold when the con-iurer produces just as startling results with these as with specially made apparatus. Naturally the stage magician has to use the older type of performance, because the audience cannot see cards etc., but sometimes even he uses extra big everyday objects made for the purpose. Outside the actual performing of the show the main platform or parlor conjurerls dilliculty lies in handling children, and pleasing them. Children appreciate a well put over programme as well as adults, and they are very easy to deceive, but the danger with them is that they are quick to spot a mistake, intentional or otherwise, and also they never keep silent about it. The only remedy for this is not to make mistakes P Pleasing women, and children too, is not so easy when both are in the same audience, but as women always like pretty things, flowers and handkerchiefs, and children like animals, a liberal sprinkling of both in the show will be sure to please all. Men are very easy to please, merely a well-executed trick serving to satisfy them, and so the magician has to play up to the women and children of the audience. The dress of the magician, like the magic wand, has become standardized. The hrst garment of the early conjurers was a long, flowing robe, covered with mystic signs, and in which there was ample room to conceal an elephant if necessary. This became more modern until one magician startled the public by wearing a full dress suit which had apparently no places of concealment. The stage magician still has to wear the full dress suit, but the platform or parlor conjurer is permitted to use a tuxedo, or even an everyday business suit. So that, taken all in all, the slow development of magic through the ages to its final culmination in the present day, has gone through all stages, from religious rites to enter- taining, and is now a very highly developed science which has its followers and clubs in all parts of the world. C. P. E., Form 6. l29l

Page 30 text:

SELWYN HOUSE SCHOOL MAGAZINE audience much more than do the other two, and for this reason, if the conjurer is capable of doing it, and has a suitable stage, it is preferable. The natural style of conjuring is more adapted to the parlor and platform types of magic shows, and is very widely used, as there is little memorizing of patter, and the magician can say whatever comes into his head about the trick. The effect on the audience is at first less than the mysterious show, as they think that they are merely seeing someone do a trick, and when the end proves to be startling and unexpected they sit up and take NOTICE. ln this type of show cheerfulness is essential, and if a performer is consistently cheerful the audience will respond to his attitude by being cheerful themselves, and since the audience wants mainly to be entertained this cheerfulness is very advantageous. Occasionally in the audience, during the natural kind of show there is one person who knows how it's done , and persists in calling out his knowledge. The only way to prevent this, and save the success of the show is to make the offender seem ridiculous. The aud- ience, knowing he is doing this, will immediately laugh at the culprit, and will more admire the performer for his cleverness. Magicians who use the humorous style of presenting a show have to use a definite outline to follow, which brings in the jokes to the best advantage, and permits the inventing of new ones in the talk. This also creates a good impression on the audience, who only think of the tricks as mediums for bringing in the jokes, and so entertainment, and there- fore to give the tricks their proper importance a half-natural half-humorous style seems as good as any to me. But of course, if the magician is unable to make jokes he should not bring in ones thought out beforehand, as these, coming from the wrong person, seem rather forced, or unnatural. The impression created upon the audience at the outset is also of great importance, and thus the first trick should be a good one. If it is not, and the audience start to think of the magician as a person, not a personality, the show is damaged, and, the performer sensing this, the entertainment proceeds in a rather strained way until a reaffr good trick is accomplished. The second most important item is the last trick, which should represent the utmost in the magician's repertoire, and it should be extremely spectacular, a production effect usually, and the audience should depart thinking mainly on this trick. So that, from the importance of the first and last tricks, we gather that the object of a con-iurer in a show is to create a good impression, and the object of the spectator to be entertained. The magic wand is another item of importance in a magic show, though its use is often regarded by the beginner as an affectation. This is not true, for the psychological effect obtained by touching an object with the wand and saying Presto in a deep voice, actually helps to make the audience believe that the miracle was accomplished at that very instant, though they really know that it must have been effected earlier. Usually any small suspicions that the audience have are overshadowed when the magic wand is used, and this is one reason why the wand is indispensable. The practical value of the wand, too, is often overlooked. It is most useful, as the magician can return to his table to pick it up or lay it down, thus acquiring an excuse to l3Sl

Page 32 text:

SELWYN HOUSE SCHOOL MAGAZINE Qu Exciting Zlntihent ?1Buring jlilp 'Uatation I think the most exciting incident during my vacation was a trip to Les Echafauds du Basque. It is a bay about six miles up the St. Lawrence river from Tadoussac, and has two small islands at its mouth. We left on a lovely day after lunch and crossed over to the other side of the Saguenay on the ferry to St. Catherine's Bay. From then on we rowed in small boats, keeping close to shore. We arrived there about 6 P.M. after which we pitched the tents, and cooked our- selves a meal. That evening I found a baby rabbit which was very frightened, so I let him go. The next morning there was a dense fog, and it was raining hard. We had to get up at -L .-LM. to catch the tide at a certain point to give us enough water to cross the reef into St. Catherine's Bay, so we had breakfast and started out. We had to keep close to shore all the way, and steer by compass, as the fog was so thick. It was very slow going, as we had to keep a sharp look out for rocks. :Xt length we arrived at the reef, where we found the tide running out very fast, so Mum and Dad jumped out and pulled the boat over the reef into deeper water. We just got over in time. Then we rowed across the bay to the ferry and home. R. C. BI., Form 2. The Jfall of Qlisetbuslnhakia De.vf':'ffd hr lhfir F7'?l1flI and R14.v.via11-fi-iwzdf, The Czfrhf wart' 0:-w'u'hrh1zni hy German mighty The other zzzzfiom .rm1'li- ,mtv their pfight, Bn! gave no aid, flu'-v lhought lha1friend.rhip mmdr. .iff qizarrrlf tcilh the Germmug hu! if .rendf Em'01u'agf'n1f211 10 Hitfrrg al the .fight Qf' zzafiom .frnred lo .ray lhe Czerlzx were right, He faughx: a'f'.fpi.ve,f fafh who him hfy'rif11d.v. Sm1'e!e21!zz111i wax loft .tix monlhf hfforf' .17 Jlznzirlz, -:share the Germmir signed a peace I1'ifh men who tried thix wrrlvlied war to ware Ere il bfgllilj thus aff Czffh palrioly mu' The farm' Qf Czefh and Slot-ak wilhonf war 7 3 I I1 haizdx of German froopt and :muted polirr. J. S. M., Form 6. l30l