How do i get into mentalism? I have got 13 steps but I do not know how to use it. What would be a good book or place that can ease me into learning mentalism.
How to get into mentalism?
- Thread starter fallingcardsmagic
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Set 13 Steps aside for now. That's more of a reference book. Pick up Bob Cassidy's Fundamentals.
The first thing you are going to have to understand is that mentalism is different to magic. With magic there is the trick, and then the applause, and everyone goes home and talks about how fun that trick was. With Mentalism people go home thinking about how well that person read minds.
Magic encourages the suspension of disbelief. Mentalism encourages belief.
This is why many magicians don't actually make it to mentalism, they do mental magic. Which is fine, and honestly, more commercial in many cases.
If you really want to go the route of mentalism, you will need to create and carefully define a character. What powers does he have? How does he do what he does? Is he psychic? Is he a master of psychology? Is he a master manipulator?
If someone is psychic - how are they psychic? Telepathy? Clairvoyance? Medium? If they are an expert in psychology, which field of psychology? What does it allow them to do?
Derren Brown is a psychology master. He can influence and predict behavior, he can hypnotize people, and he can manipulate decisions through careful use of wording and imagery.
Jim Callahan communicates with a spirit guide to get his answers, and harnesses internal energy to manipulate objects.
Max Maven knows everything. Even his name is actually a pun, Maven is someone who knows everything.
Paul Draper is a kind of psychological guy, his thing is anthropology.
Ben Cardall is "The Deductionist" - he's a real life Sherlock Holmes.
Colin McCloud is a Forensic Mindreader. Body language cues and such.
Figure out what you want to do, figure out why it is you can do that, and then go from there. Mentalism requires a lot more theatrical skill than general magic does.
The first thing you are going to have to understand is that mentalism is different to magic. With magic there is the trick, and then the applause, and everyone goes home and talks about how fun that trick was. With Mentalism people go home thinking about how well that person read minds.
Magic encourages the suspension of disbelief. Mentalism encourages belief.
This is why many magicians don't actually make it to mentalism, they do mental magic. Which is fine, and honestly, more commercial in many cases.
If you really want to go the route of mentalism, you will need to create and carefully define a character. What powers does he have? How does he do what he does? Is he psychic? Is he a master of psychology? Is he a master manipulator?
If someone is psychic - how are they psychic? Telepathy? Clairvoyance? Medium? If they are an expert in psychology, which field of psychology? What does it allow them to do?
Derren Brown is a psychology master. He can influence and predict behavior, he can hypnotize people, and he can manipulate decisions through careful use of wording and imagery.
Jim Callahan communicates with a spirit guide to get his answers, and harnesses internal energy to manipulate objects.
Max Maven knows everything. Even his name is actually a pun, Maven is someone who knows everything.
Paul Draper is a kind of psychological guy, his thing is anthropology.
Ben Cardall is "The Deductionist" - he's a real life Sherlock Holmes.
Colin McCloud is a Forensic Mindreader. Body language cues and such.
Figure out what you want to do, figure out why it is you can do that, and then go from there. Mentalism requires a lot more theatrical skill than general magic does.
I wouldn't personally recommend Kolossal Killer, there are 2 possible endings to the trick and only 1 is shown in the trailer. The other solution is really bad/weak and most likely won't get you any good reactions
Yeah I know kolossal killer and it can be stunning but its not the type of metalism I am looking for. I think when doing anything really with cards it hard for people to stop thinking trick, trick, it's a trick.
Thanks so much for your thoughtful input. I instantly looked around to find Bob Cassidy's Fundamentals and just reading the beginning is very helpful and has me thinking. Thank you!
-Matt
I would recommend the Penguin live lectures - they tend to touch on several topics all at once, especially Richard Osterlind's.
In my opinion the most valuable are Colin McLeod and both of Osterlind's, and later on, if you feel effects that require a bit more presentation planning and mental work fit you, Luke Jermay's and Atlas Brookings' (propless!) lectures as well.
Although Penguin's site says their Choose 5 deal has expired the offer still comes up when you choose lectures, meaning you might still be able to get them for $20 apiece.
That's still a bit of money, so if you want to start out with just one lecture, Richard's 2nd one is definitely something that would've been invaluable to me when I was first starting out. Message me if you'd like a table of contents of the 12-14 effects and theory topics he goes over.
A note about Kolossal Killer to future readers - the second ending is most definitely not bad/weak. Last weekend I performed it for a stage show and the silence, disappointment and suspense followed by the onrush of applause at the end confirmed what I'd been toiling with for a while: The "alternative" ending isn't an alternative at all - it's the preferred ending I strive for in each performance. In my opinion the cycle of curiosity to suspense to amazement is much more powerful than just... Bam. I was 100% right.
Hope that helps, good luck!
In my opinion the most valuable are Colin McLeod and both of Osterlind's, and later on, if you feel effects that require a bit more presentation planning and mental work fit you, Luke Jermay's and Atlas Brookings' (propless!) lectures as well.
Although Penguin's site says their Choose 5 deal has expired the offer still comes up when you choose lectures, meaning you might still be able to get them for $20 apiece.
That's still a bit of money, so if you want to start out with just one lecture, Richard's 2nd one is definitely something that would've been invaluable to me when I was first starting out. Message me if you'd like a table of contents of the 12-14 effects and theory topics he goes over.
A note about Kolossal Killer to future readers - the second ending is most definitely not bad/weak. Last weekend I performed it for a stage show and the silence, disappointment and suspense followed by the onrush of applause at the end confirmed what I'd been toiling with for a while: The "alternative" ending isn't an alternative at all - it's the preferred ending I strive for in each performance. In my opinion the cycle of curiosity to suspense to amazement is much more powerful than just... Bam. I was 100% right.
Hope that helps, good luck!
If you are just starting mentalism, I would not recommend you directly take effects from books such as 13 steps and perform them exactly as is. Intead, take principles from the book(s) and "throw" them together to create something outstanding. If you are a complete beginner, stick with Osterlind and Cassidy, as they release mostly solid methods that can not fail.
Once you get further in, and are not afraid of failing, check out Atlas Brookings, Max Maven, and Michael Murray. They all have FANTASTIC material that I would rate at intermediate.
Once you reach a point where you have mastered the "intermediate stage" and have adapted your own performing style, there are various people you should check out. These include, Fraser Parker, Peter Turner, Colin Mcleod, and Ken Dyne.
Once you have passed this stage of the game, you have truly understood what it means to be a mentalist. At this point, you should be bold and creative with your presentation. You should have adapted your own ideas in your performance. Now go out there and be the mentalist you wish to be.
Once you get further in, and are not afraid of failing, check out Atlas Brookings, Max Maven, and Michael Murray. They all have FANTASTIC material that I would rate at intermediate.
Once you reach a point where you have mastered the "intermediate stage" and have adapted your own performing style, there are various people you should check out. These include, Fraser Parker, Peter Turner, Colin Mcleod, and Ken Dyne.
Once you have passed this stage of the game, you have truly understood what it means to be a mentalist. At this point, you should be bold and creative with your presentation. You should have adapted your own ideas in your performance. Now go out there and be the mentalist you wish to be.
Kolossal Killer gets amazing reactions lol but think what you want! You are only hurting yourself by not performing it
I personally perform Kolossal Killer, Steam 2.0, Psypher, Hands-Off, and a lot of work by Peter Turner.
KK can be an amazing trick. Or it can be a really lame one. It entirely depends on the performer - like all of mentalism.
If you really want to become a mentalist - ignore videos for now. Buy books and study them. Not just stuff with tricks in them - that's nearly irrelevant. Mentalism isn't about the tricks you do, it's about -how- you do them. And I don't mean method - most of the methods are laughably simple. But the presentation behind them creates the emotional experience your audience feels - and that is what they will remember long after the specifics of your performance have faded and warped.
And stop worrying about 100% surefire methods. Much of what a mentalist does is the employing of systems, not the execution of tricks. If things work every time, that's a trick - and the audience knows that.
If you really want to become a mentalist - ignore videos for now. Buy books and study them. Not just stuff with tricks in them - that's nearly irrelevant. Mentalism isn't about the tricks you do, it's about -how- you do them. And I don't mean method - most of the methods are laughably simple. But the presentation behind them creates the emotional experience your audience feels - and that is what they will remember long after the specifics of your performance have faded and warped.
And stop worrying about 100% surefire methods. Much of what a mentalist does is the employing of systems, not the execution of tricks. If things work every time, that's a trick - and the audience knows that.