Fundamentals 1.pdf

Fundamentals

(A Four Part Guidebook to Mentalism)

Robert E Cassidy

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It should be noted that there is a psychological difference in the appeal, in the

manner of presentation between what we call two branches of the mystic art –

‘magicians’ and ‘mentalists’. While both accomplish their effects by trickery, the

mentalist rarely admits it. There is an important reason for this attitude of the

mentalist. His mysteries of the mind are impressive only when cloaked in an

atmosphere of genuine phenomena. Long experience has taught the wisdom of

this serious and earnest presentation. Ample proof of these statements will be

found by observance of the leading professional artists – those occupying the

topmost rung being accepted as genuine by a great majority.

Performers of mental and psychic mysteries usually preface their demonstrations

with a statement to the effect that they make no claims to possession of

supernatural powers, and that the presentation is solely for the entertainment and

amusement those present, who may draw their own conclusions as to the means

or methods by which it is accomplished. However, the performer proceeds to do

his act as though it were a genuine example of unusual powers: - which, in fact, it

is! If presented as mere tricks, the act would not command anywhere near

the same interest and spellbound attention – if indeed, it didn’t fall flat.

[emphasis added]

- Harlan Tarbell , The Tarbell Course in Magic, Volume IV, p. 91

Table of Contents

Introduction

Overview

The Psychology of Mentalism

Plausibility

The Path to Mastery

A note on rehearsal-

Fundamental Structures

The Shuttled Newspaper Test

Get the Lead Out

Three Canisters and a Bill

Bonus Effect - Test Conditions

Introduction

The first thing that an aspiring mentalist needs to know is that there is a very real difference that exist between

mentalism as presented by mentalists and mental magic as demonstrated by magicians. While their methods and

devices are often similar, the mentalist is able to employ certain psychological techniques unavailable to the

magician.

It is a well known fact, for example, that if you speak to someone they will generally look at your face. If you are

a public speaker or a standup comedian, this is almost always true because there is no compelling reason to look

anywhere else.

Not so for the magician. People know in advance that a magician performs tricks, and since everyone imagines

that they might see “how it’s done” if they watch closely, their attention will go back and forth between the

magician’s face and his hands (or the particular prop he is using). The magician, therefore, must employ

misdirection to insure that attention is directed appropriately.

If a magician includes a mental effect in his act the same requirement applies. Even though he may state that he

is about to demonstrate a phenomenon of the mind, audiences are well conditioned not to believe anything that

a magician says and will continue to look for trickery.

It stands to reason, therefore, that if an audience has any reason to suspect that a performer is performing sleight

of hand or “magic tricks,” his words and actions will be subject to far more scrutiny than those of a public

speaker. (Unless, of course, the speaker is running for office.)

This is why mentalists can effectively employ methods that would be transparently crude and obvious if used by

a magician.

In the quote on the previous page, Harlan Tarbell observes that the mentalist should seem to possess an

“unusual power.” ( Note that he merely advocates that the performer attribute his effects to some “unusual

power .” This claimed “power” needn’t be paranormal . One of today’s most successful mentalists claims to be

an expert on body language and non-verbal communication. Many similar approaches are available to the

imaginative performer who does not wish to claim or imply psychic abilities. The important point is that

effective mentalism cannot be presented as mere magical trickery. )

Upon witnessing a mentalist totally dumbfound an audience with bold and simple effects, some magicians,

who, due to lack of talent or aversion to practice, often decide to “get into mentalism.” No psychic ability is

necessary to accurately predict what always happens when they foist themselves upon an unsuspecting audience.

It isn’t pretty.

This guidebook is not for those who seek self-working magic tricks with a mental or psychic theme. It is,

instead, intended for those who wish to obtain a solid understanding of the principles and psychology of the art

of mentalism.

[Pursuant to The Political Correctness Act of 1995, the author hereby certifies that use of the masculine pronouns “he,” “him,”

and “his” in the following text is not intended to exclude the feminine, or those who have been neutered, and are used for

convenience and readibility only. ]

•

Overview

Mentalism may be the most interactive of the performing arts. Its primary illusion is that of mind reading.

While the mentalist may claim to be using body language, superior powers of observation, advanced

psychological techniques, or whatever “unusual power” he desires, the basic impression is that he is able to

determine or control people’s innermost thoughts. Unless he finds it amusing to read his own mind, the illusion

is impossible without an audience.

In addition to a solid understanding of the psychology of mentalism, the most important assets of an effective

mentalist are acting and communication skills, and the ability to think on his feet in high pressure, and

occasionally unpredictable, situations. My goal is to give you an approach to learning and presenting

mentalism which develops all of these essential skills.

The first part of this guide discusses psychological principles of the art and sets forth some basic structures

which you may use to explore those principals and develop your stage persona.

Part two analyzes the various ways that the structures in part one can be developed. Also covered are the physical

techniques of the art , the major and minor effects of mentalism, and essential terms and concepts.

Parts three and four deal with mental systems and shortcuts, an overview of gimmicks and devices, the

fundamentals of constructing a program, a complete example program and a

review of what I consider to be the essential volumes in a mentalist’s library.

•

The Psychology of Mentalism

As I noted in an earlier work, the word “mentalism” originally referred to a philosophy that held reality itself to

be a mental phenomenon . For our purposes it shall be defined as a performing art in which the mentalist

entertainingly demonstrates mystifying “powers of the mind.”

Unlike most magical effects, the illusion of mentalism is not primarily visual. (The exceptions, of course, are

“mind over matter” effects such as bending or moving small objects by apparent psychokinesis, etc.) While

visual aids are often employed - ie. the performer exhibits a book from which a word is selected, or a spectator

draws a picture which the mentalist attempts to duplicate – the actual illusion takes place in the viewer’s mind.

Imagine, for example, that you are vacationing abroad and see a mentalist on television. Imagine that he is

speaking a language completely unfamiliar to you. It is likely that you will have no idea what he is doing - he

could be a game show host for all you know.

If you were watching a magician, however, you would quickly recognize that he was performing magic and

would probably understand what he was doing regardless of the language barrier.

But in mentalism, the illusion itself cannot be created without effective verbal communication and

misdirection.

In successful fiction, as in magic and mentalism, the plot , actions and events must be consistent with the rules

of the imaginary world set up by the author. You can’t, unless you have created a skewed parallel universe, have

General Custer calling for reinforcements on his cell phone. Nor can a mentalist who claims to be an expert in

interpreting body language, believably demonstrate the ability to bend metals with his mind or to see while

blindfolded. The latter effects are simply not consistent with the ability claimed.

There are many who feel that somber dress, a humorless approach and a mysterious demeanor are enough to

establish believeability. Actually, the opposite is true. There must be a modern naturalness in the mentalist’s

appearance. Not only does this put an audience at ease, but it strikes down psychological barriers that

individuals may have regarding authority figures.

The same applies to the mentalist’s attitude. A superior attitude can cause an audience to react negatively and

will inhibit their cooperation and willingness to participate in the program.

A friendly and enthusiastic approach, on the other hand, puts an audience at ease and in a frame of mind that

will be far less skeptical and analytical of the mentalist’s claims.

Mentalism, to be effective, must appear to be an actual demonstration of some unusual ability, as discussed

above. Its plausibility is inversely proportional to the number of abilities claimed. In other words, the more

unusual abilities you claim and demonstrate, the less believable you will be. Before you can begin to select

effects and develop a presentation you must first create a plausible subscript – a detailed description of your

stage persona’s powers, how he got them, how they seem to work, and what his limitations are.

If you have never done so before, it would be a good idea to write an imaginary biography of the character you

portray on stage. Many mentalists create a character very similar to themselves, but this is hardly a requirement .

Plausibility

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