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Unformatted text preview: Mysteries Anywhere Compendium of practical mentalism effects for unexpected performances Pablo Amirá Art is a lie that makes us realize truth Pablo Picasso This document is dedicated to my parents and my country Chile, a beautiful place that needs a lot of help right now. I ntroduction I first Met Pablo in Greece a few months ago, after he contacted me letting me know that he happened to be in Greece. We arranged for a meeting and he was kind enough to show me some of his ideas. I was amazed to see a young performer being familiar with some Mentalism Techniques that some even more experienced mentalists do not know. He then told me about his plans to release soon a book with some of his ideas, which happens to be the one you are reading at the moment. Pablo was very kind in providing me a copy of his work before it was released; I started reading it immediately after I received it. I love the way performers and inventors mix different concepts in order to create a new effect or a new presentation; I love it EVEN MORE when that mixture involves psychology, suggestion or other similar sciences, it fits my style so perfectly. I offered to write the introduction for Pablo’s new book. It is my belief that you will find within these pages some if not new ideas (which I bet you will find) at least some inspiration to find new ways to perform. And even more important, some ways to keep your performances CLEAN and SIMPLE which in my belief is one of the biggest keys to delivering Mentalism in its highest degree to the audience. Pablo, I like your material and I am proud of your work. To you as a reader, I am sure you will enjoy Pablo’s work, as he has made sure to place it in simple terms in these pages for you to understand and therefore put it into practice within your performances. Enjoy then these mysteries anywhere. Nefesch 2010 A uthor’s words On the fly, on the spot, impromptu, AAA, etc…. Words that we’ve always had as a performers. A magician can say: “I don’t have my Rising Deck with me.” Can a mentalist say: “No, I can’t read your mind right now; I don’t have my Mental Epic board.”? NO! The premise of this e-book is about mentalism that you can perform without carrying any objects such as paper, pen, wallets, cards, NW, etc. I want to share 5 effects that I use constantly in impromptu performances and also in other places such as stage, close up and walkaround. These are simple ideas, easy to follow effects and bold methods. If you as a performer had problems with your impromptu routines and you want to live knowing that you can perform miracles anywhere, consider these demonstrations in your repertoire. Borrow a few things and create mental experiences for your audience. I hope that you enjoy these pages and study the real important things such as the psychology behind each effect and subtleties that you can find. And more important, add your own experience and the things that you consider as important. This is the starting point for these effects. Only your creativity is the end. I want to say thanks to my “classic” inspirations in Mentalism: Annemann and Corinda. Also thanks to my “modern” inspirations such as Kenton Knepper, Banachek, Max Maven, Bob Cassidy, Richard Osterlind, Luke Jermay, Jerome Finley, Anthony Jacquin and Richard Nongard (for the hypnotic part). And of COURSE, thanks to YOU. Yesterday (27-2-2010) my country suffered a terrible earthquake. The money collected from this document will be destined in the reconstruction of my country Chile. Pablo Amirá, 2010 This is my country… well… photos really. Photographer: Sol Pérez E ffects 1. Perfect Coin, maybe: A miracle in the purse of your participant. He takes a coin from their pocket, hides it in his fist. You can instantly create mysterious things with the coin and your participant, finishing with the revelation of the coin and the date. Borrowed coin, no switches. 2. I.D.S. : This abbreviation is a mystery…. Inside these pages you will know how this idea can build you a reputation as a mindreader. A way to create an impromptu in your face dummy billet, a very easy billet switch and a bold full billet peek, all combined to create a piece of mental miracle. Thought: Text and subtext 3. Chronoincidence: A Watch Routine that looks very clean. One participant thinks of a time, another participant turns the stem of a watch. The 2 hours match. Nothing is written. 4. OHP: Predict the future in an open manner in your hands. One card is predicted in a loud voice, one card is turned over in the deck. Prediction is correct. Thought: Verbal or Non Verbal? 5. The Frankenstein Experiment: 3 participants will be creating life, and you, astonishing moments of mindreading. Each participant thinks in different characteristics of this new creature, and you are able to reveal it. A kind of 4th D Telepathy with an interesting presentation behind it. A Joke before the effects: (Thanks to my friend Felipe Aravena) Perfect Coin, maybe An idea/challenge came to me one day in a bus. I wanted to create the purest date revelation with a coin, but I couldn’ t see the picture and the method, so I created the “Almost Perfect Coin” effect, that requires a subtle switch of the coin. But one day the final answer came to me, and now it’s evolved into som ething else that I love and enjoy performing. Audience and participants perception A participant takes a coin from his pocket. The mentalist instantly can suggest ideas, creating hypnotic rapport, mystery, and also perceived information such as the specific coin that she takes and even the date on the coin. Effect Suggestion effects and telepathy You need A borrowed coin and a willing participant How? The method is simple in nature. Suggestion, psychological finesses and muscle reading for knowing the numbers on the coin. For me this effect is like a way to practice such tools that we as mentalist have (patterns, psychological finesse and MR). If you think about it, there are real mind powers. Creating and changing reality in the life (at least for a few minutes) of a participant is a very important, attractive and powerful tool, and with the first phase of this effect, you can accomplish that. First you borrow a coin. But how can you know which coin he will take and reveal it later? Easy, just ask for it. But I know that you understand that this action needs to be subtle. Imagine yourself talking with your participant about this experiment, and asking for a coin (ambiguous language), and saying with a softer voice, “a quarter” (or a typical coin in your country). Just wait the moment that you know that your participant has the coin securely in her hands and say: “Or any, of course ” , again, with a very “unimportant” attitude. You need to have in your personal subtext something like “I can do it with any coin “, and immediately say to him: “Look carefully that I a m not near your coin (coin, not quarter), because, believe it or not, in a moment I will read your thoughts and know some things about your coin from your pocket”. After that, the performance itself is a time misdirection factor that allows you to have the revelation of the coin. Now its time for the suggestion phase. My preference is to create first the effect of a “heavy coin”, using suggestion about this idea, and next something stranger like a “hot coin”, but you can do it in reverse or use the coin to suggest other ideas. (Photo 1) (Photo 1) I see hypnosis as a dual reality experience, because if the participant isn’t in a profound trance, your audience will believe that the coin was heavier, and the participant after that, really feels the coin hotter. So even if this phase doesn’t work very well, the audience with feel that this works wonderfully. In the Possible Dialogue section, you can see a guideline about the patter, but really the important thing is just do it with your total confidence, confidence that you need to express first in your non verbal communication, and also in your verbal communication. You can use A LOT of different psychological bits and finesses to enhanced the odds and create that “hypnotic dual reality “. For example in the “Hot Coin” part: “And just come back and open your eyes slowly when you don’ t feel the warm th of the coin anymore” (thanks Kenton!). If the participant doesn’t feel a change in the coin, you’re secretly put the idea, in your audience, that he really felt the coin getting hotter, because you said “anymore”. Understanding language patterns is a necessity here, so even if you don’t know anything about this, buy Wonder Words by Kenton Knepper, After the suggestion part, comes the mindreading phase. The first mindreading moment comes with the revelation of the type of coin that he has in his fist. You can jazz here of course, and use your theatrical abilities, because you already know what type of coin he has. After that bold revelation comes the revelation of the date. Here is where contact mindreading and non- contact mindreading comes into play. If you don’t know what contact mindreading is, close this e-book right now and get “Psychophysiological Thought Reading” by Banachek. (You can keep this e-book open), or find the video “Psi-Series” part 3. If you divide the date in an ABCD format, it will be something like this: A: 1 or 2 B: If the coin has 1, obviously 9 is the 2nd one. If the number is 2, obviously it’s 0 C: If the coin is “19XX”, the 3rd one can be 8 or 9. If the coin is “20XX”, the 3° ones can be 0 or 1. D: If the coin its “198X, can be 0 to 9, the same with “199X” and “200X”.If the coin is “201X”, the last digit can only be 0 ( at least today  ). So as you can see, the route in A and C are binary, the B depends on A. D is the more complicated one but more fun also. My strategy it’s to use MR in A and C (only 2 options), and NCMR for D (0 thru 9). Let’s check the MR part. Just take the participant’s hand and read his unconscious response. I use a “cross” to know what number the participant its thinking. For example, if the first number is “1”, the participant’s thought will be a vertical line. In the other case, if the first number is “2”, the participant’s thought will be a horizontal line. 1 2 If you feel resistance with the vertical move, it means that the number is 2 and the same in reverse. It’s very simple but you need practice. You can practice with any effect where you can force the thought. With this technique, you can know the A number, and with A you know B, so when you recognize and read the number you can announce both: “I a m feeling that you’re thinking in the number 1, am I right? “ If the participant said “Yes”, you can say: “excellent, so of course (with a little laugh ) the 2 ° its 9 ….. I don’ t need to be a mindreader to know that”. With this line you’re implying that you’re really reading the spectator thoughts, and honestly, that’s the truth. For the 3rd digit, use the same “cross” technique”, and jazz it a little bit. In this part your mindreading character comes into play. Act and be as confident as you can. If you have a mistake, it’s ok, just keep going, you know that already. So, you know the first 3 digits; let’s go with the fourth digit, the most fun part. For this one I used NCMR. I used an idea from the Banachek´s book about knowing a thought of number. Just ask to your participant to close the eyes. When he has his eyes closed, you just tell him that when he listens to his thought of number, just imagine in his mind a big red stop sign raising from the ground and touching the sky, and shout in his mind STOP!! (In my experience, this visualization needs to be extremely strong and exaggerated, so tell this to your participants).So, if you pay very close attention to your participant, you can detect when his eyes will move and his body language will change. You can go from 1 to 9, or randomly. My personal preference is going 0 thru 9. Just one time will be enough to detect a few changes in one specific number. If you had trouble with 2 or more numbers, tell them: “Good, I think that you’re thinking in X… (Pause a little bit. If X is the number, you had your climax, but if it isn’t…) or Y“, and proceed again with the NCMR. This subtlety it’s very interesting, because you can know in advance that Y is the number (because there ´s no reaction in X), so you can step back and say: “The year of your coin, your quarter is 199Y, isn’ t it?” You can use this linguistic subtlety in A and C also, knowing each number without using MR for those. So, these are the techniques to know the date of a borrowed coin, real mindreading. If you fail in the revelation (it’s never happened to me…but) just move on. Perform another effect, or just put the participant into a trance, and do it in the hypnotic way (“Reverse Mindreading” by Anthony Jacquin). Possible Dialogue (Premise and Conditions) Ok Valerie , so you want to see something? Do you want to feel and experience strange things? Can you do that? ….Ok. Excellent. Do you know that you have a miracle in your purse? As strange as this sound. Take out your purse. Take a coin, a quarter (wait until she takes a coin), or anyone of course and hold it firm ly in your fist. (Take attention off of the coin at the moment). Look carefully that I am not near your coin because, believe it or not, in a moment I will read your thoughts and know some things about your coin from your pocket. Do you have it firm ly? Ok. Clear your mind, put your feet together and close your eyes (building compliance). (Heavy Coin) In a moment you will feel that this coin has a heavy weight. An as you are aware of the increasing weight of the coin , you can feel how your hand is pulling down , and as you feel you hand getting a little tired you can feel the coin becoming heavier (Suggestions for heavy coin. Just watch and pace). That’s right, more and more. You definitely feel more weight, Yes , it’s weird. You definitely felt the coin getting heavier. (Hot Coin) Now, you will feel something more bizarre, because the coin starts to heat up now. (Strong voice) You can feel right now that this coin is pulsing, almost like it’s breathing, getting warmer, hotter, more and more. It’s strange, but it’s ok, it’s all in your mind. Keep your hands closed with your coin and jus t come back (more relaxed voice and attitude) and open your eyes slowly when you don ’t feel the warm th of the coin anymore. (Participant with tight fist and eyes open) You feel strange things , right? Yes , like warmness in m y hand Excellent, now we will do something amazing, but I need your full attention. (Serious attention) It’s 50 % m y work, but also 50 % is in your hands. Ok? Ok, let’s do it. I will look in another direction ; you just take a peek and remember the date in your coin (you look in another direction, and continue) (Mindreading) Remember that I never saw your coin, yes? (Nod your head) Yes , I have it in m y fist. Great, because first I want to know which type of coin you have. Don ’t say anything out loud. Di me, penny, quarter (all the typical coins that the participant could take ). Say it in your mind! (Stare in the eyes) Your coin is a quarter, right? (Wait for answer). Yes Excellent, you are very good at this. (Without pausing) Now think of the first digit in the date of your quarter. (Take the participant’s fist). Of course it can be “1” (Vertical move) or “2 ” (Horizontal move). Just tell me with your mind and think vertical move for 1 or horizontal move for 2 . (5- 7 seconds later) I am feeling that you ’re thinking of the number 1, a m I right? .Yes. Excellent, so of course (with a little laugh) the 2 nd one is 9. I don ’t need to be a mindreader to know that (gag). Now the third number, the same thing. Just think vertical if the number is “8”, or horizontal if the number is “9”. Think it loudly; tell me with your mind. I am not sure, is it 8? No. Ok, no problem, just focus more, it’s ok. (Utilize that mistake as a dramatic build up). Now the last number. Just close your eyes. Take a deep breath , and let it out. Do you have the last number in your mind? Yes, I have it Ok, I will say the numbers from 0 up thru 9 out loud. When you hear your number, imagine as strong as you can a red shiny stop sign rising from the floor up to the sky and shout in your mind S TOP, ok? Ok 1, 2 , 3, 4,5,6,7,8,9, 0 … (you will see the eyes move up on their sign). Good, I think that you’re thinking of 4…. (Wait a bit for responses, if you see a reaction, take credit for the revelation) or 8. The year of your coin, your quarter its 1998 isn ’t it? Yes!!! (She opens her eyes, it’s always automatic) Good job, you are very good at this. (End ) Ideas 1. If you enjoy performing hypnosis, you can use this piece as an induction. For example, when you finish with the mindreading moment, you can use the coin for the classic “stiff arm” demonstration in waking hypnosis, and induce trance. (Photo 2) (Photo 2) 2. Find out what the most commonly found years for your coin are. Make a mini index in your pocket with 3-4 BENT coins of these different dates. If at the end of this effect the date on the coin matches one of your bent, indexed coins; go for a subtle switch on the offbeat (when people are reacting to the first effect) and you’ll have another strong ending. Don’t mention the date again after bending the coin, let the audience find out for themselves. (This idea is from Mauricio Jaramillo) Credits and Inspiration As I said in the beginning of the effect that the inspiration came to me in a bus as a creative challenge. I know that Derren Brown has a revelation of a borrowed coin, but this effect is different. Credits to Kenton Knepper and his work in language patterns for mentalists and also in the use of trances to engage performances, and Banachek for his work in MR. The secret to creativity is knowing how to hide your sources Albert Einstein I.D.S. (Impromptu Dummy Sequence) This idea came from an impromptu coin transposition that I performed in my coin magician times. This it a better use I think right now. More than one effect, this it’s a sequence where you can prepare an impromptu dumm y billet for one on one situations preferably and perform amazing Mentalism without prior preparation. Audience and participants perception A participant thinks of a drawing in his mind. After a few tries, the mentalist says to him that it’s better to write in one word the main idea of his drawing on a piece of paper. The mentalists prepare 2 papers, one for the participant, and the other one stays for a while in the mentalist’s pocket for later. The performer tries to sense some ideas of the mental drawing, ending with the revelation of the thought of drawing. Effect Precognition or Telepathy (in this case) You need A pen and a paper (you can be flexible, but a 3x5 aprox) How? Amongst the many different approaches to mindreading, you need to secretly know the information that you participant is thinking. This one is based on a billet switch and a full peek of the billet. Grab a piece of paper and follow me. I am right handed, so change everything if you are left handed. Tear the paper in 2, and fold each piece into quarters. Leave one on the table for the participant, and the other piece of paper: “Goes to my left pocket for later”, in reality keep the paper in right hand finger palm. After the participant writes his thought, take his billet (just offer your left hand without saying it, just to help find something to hide the billet) in your left hand and casually do a switch with the dummy in your right hand (basically a false transfer like in a coin move). The important thing right here is that this ISN’T A MOVE, you are just taking the same paper. Your subtext needs to be: “where can we put this unimportant piece of paper? Ahh just under the cup”. Mr. Cassidy talked to me while I am writing; he said:” Please don’t look at the paper when you do a switch” (I am a little crazy. And you too.) So you can put the dummy under the c...
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