Bob Cassidy - Techniques of Mentalism.pdf - Bob Cassidy - mcgregor2001

The Cassidy Lecture

Techniques of Mentalism

The Bob Cassidy Lecture- Palo Alto, CA,

December 8, 1997

The nice thing about a lecture is that I have an

opportunity to delve into areas which simply wouldn't

be appropriate (to my mind, at least) in my other

writings. In my books I try to concentrate primarily on

original material. That is, after all, what the readers are

paying for.

In a lecture, however, it seems quite proper to deal

with fundamental approaches to the art and to discuss

my variations and handlings of standard effects and

moves.

If you see me perform at a gathering of mentalists you

will see nothing but my original material. When I

perform for lay audiences, however, (which is most of

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The Cassidy Lecture

the time) I use effects that I consider to be the strongest

and most effective. Very often that is standard material.

I like to think, though, that even in the presentation of

standard stuff, that my approach is at least original.

In this lecture I'll be covering the material I carry with

me all of the time so that it may be presented whenever

the situation arises. This is the stuff that gets the

bookings. It's also material that will give you a

reputation for doing "the real thing."

I'll also cover the one stage routine which most

mentalists consider to be my best creation- my version

of the three envelope test. Unlike my previously

published versions, which covered a variety of

different methods and approaches to the effect, what

we'll discuss tonight is the way I actually do it.

The Name/Place routine will also be covered since I

use it both in my close up and stage performances. It is,

I think, one of the most practical things you can do in

an impromptu setting.

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The Cassidy Lecture

MY MENTALIST KIT

I make it a habit to always carry certain materials with

me. When I?m wearing a suit, everything fits into the

pockets. In a jeans and T-shirt situation everything fits

nicely into a belt pouch or fanny pack. (I would,

however, suggest that you don't wear the pack on your

fanny unless you don't mind sitting on your act.)

The materials are as follows:

A black lipstick.

A 35mm film canister

A regular die

A gimmicked "psychokinetic pen"

A packet of billets (blank 3x5 cards which have been

cut in half)

Cornelius's "Perfect Pen"

Two "rainbow pads" (3x5 pads comprised of colored

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The Cassidy Lecture

newsprint stock)

At lease two more pens- one that matches the

gimmicked psycho pen and one that looks similar to

the Cornelius Pen.

DyCypher2- The die divination effect currently

manufactured by Chazpro.

A couple of keys suitable to use as "benders" in case I

can't find a suitable one in a small audience.

Whatever else happens to amuse me at the time-

currently a Rocco's Dlite which I use to make a crystal

glow in a variation of and aold effect called "Laser

Beam." (The crystal, too, obviously)

Here's what all of these things are for. Obviously I

never do all of this material for one group. In fact, in an

impromptu setting, I find it much more effective to do

no more than two effects. More than that actually does

more harm than good. Rather than creating a

reputation for yourself by performing something that

the audience will remember always, if you do too much

they'll tend to describe you as someone "who did all

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The Cassidy Lecture

sorts of things." You don't want that. You want them to

tell their friends exactly what they think you did.

The other stuff is for repeat performances.

THE BLACK LIPSTICK

This has two great uses. The first is for my no-gimmick

version of Fiedler's Memory Die. This has previously

appeared in my "Principia Mentalia" series but I gave

myself permission to include it here.

This is the effect: The performer exhibits a 35mm film

canister and an unprepared die. He hands the die to a

spectator and asks him to concentrate on one of the

numbers. Next the mentalist hands the volunteer the

film can and tells him to drop the die into it so that his

selected number is facing upward. The can is passed

around so that other spectators can look in and help in

the concentration process. The last spectator holding

the canister is told to remove the die and toss it back to

the performer.

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Bob Cassidy - Techniques of Mentalism.pdf

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