O.K I've got no life... 3 posts in less than 36 hours. Anyway, can anyone tell me what effects in the Tarbell Course are good for parlor work? I've already looked at the card lessons, and I have access to the rest of the course, but it's a rather large collection.
Parlor effects
- Thread starter YRAMagicMan
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Check Volume 4, Lesson 51, "Card Transition". There are several good methods for cards across. It plays well for parlor. Two spectators and yourself fill the stage. The method I do is not out of Tarbell, but very close to "Flying Cards and Envelopes".
There is a guy in Vegas making a living with cards across as his signature piece.
There is a guy in Vegas making a living with cards across as his signature piece.
I thought of one more. Volume 4 still, lesson 56, "The Cords of Phantasia". I have a friend that uses this in his act constantly. Also plays big with two helpers and yourself stretched across the stage. You are not limited to the props recommended. Anything that will slip over the ropes can work.
Best of luck.
Best of luck.
Tarbell was written as a Correspondence Course just like the original 13 Steps to Mentalism; short lessons shared over a period of time (I think Tarbell was a 5 year study system if I remember the story right), it quickly became an encyclopedic set however and even after the Mark Wilson course came along, remained the most recommended study course of magic for at least a decade. I really amazes me that it no longer gets mentioned as it once was, but then few in today's world know about the Rice Encyclopedias, Magic & Showmanship or other such "standards" of my day. (talk about feeling old. . .)
Parlor Magic is merely a term that refers to anything you can do in a living-room area for a small group. The "Style" as it were, did lean towards the idea of being a kind of show-case such as you'd find with anyone doing a Piano or Violin program or for that matter, demonstrations in Mesmerism as well as Oratory. When it comes to magic the better known performers of this vein started with classic Billiard Ball, Thimble, Playing Card and other small item manipulations so as to establish themselves to the audience and likewise preview -- give a sneak-peek so to speak -- when it comes to their skill level.
Featured Effects in this setting could actually prove a bit 'large' given that bits like Spirit Cabinets, certain escapes as well as penetrations were quite common -- rope or ribbon through lady, pillory escape and of course any number of head chopper type props as well as classics like the Die Box, Dancing Hank, and Rope Magic.
With this in mind I would encourage you to look at the writings of Eugene Burger, Jeff McBride and maybe even dig deeper into the archives so as to see how some of the better known historic figures of the past worked this social niche. I know San Francisco mage James Hamilton has done a reproduction of the original Hermann parlor & stage act for most of the past 30 years and there are a few others out there who mimic Okito, Nikolta and even Houdini (who actually did a lot of "private party" type programs).
When it Comes to Actual Effects. . . NO ONE can tell you what's "best" in that they are not you -- YOU are the only person that can figure out routines & effects that "fit" your personality and likewise what will slowly become your "style". If I'm understanding your post correctly, you're "new" to this stuff and seek a bit of direction which leads me to reiterate a previous encouragement -- Learn All You Can About Manipulation Skills FIRST!. Not only is such the foundation of Parlor & Close-up Magic but with a solid understanding and skill level you can literally work anywhere with next to nothing outside a gift for gab and some favored routine sequences (including patter) that you've played with over the years. Bill Malone is one of the best examples of this when it comes to people I've known over the years; in his teens & early 20's Bill had Edd Marlo challenging him constantly when it came to slights and I believe Bill could sleeve a small elephant back in those days he was so good. While he took his time doing so, look where it's brought him.
Don't worry about the tricks, learn the foundation material & techniques first knowing that everything else will fall into place as you progress.
Parlor Magic is merely a term that refers to anything you can do in a living-room area for a small group. The "Style" as it were, did lean towards the idea of being a kind of show-case such as you'd find with anyone doing a Piano or Violin program or for that matter, demonstrations in Mesmerism as well as Oratory. When it comes to magic the better known performers of this vein started with classic Billiard Ball, Thimble, Playing Card and other small item manipulations so as to establish themselves to the audience and likewise preview -- give a sneak-peek so to speak -- when it comes to their skill level.
Featured Effects in this setting could actually prove a bit 'large' given that bits like Spirit Cabinets, certain escapes as well as penetrations were quite common -- rope or ribbon through lady, pillory escape and of course any number of head chopper type props as well as classics like the Die Box, Dancing Hank, and Rope Magic.
With this in mind I would encourage you to look at the writings of Eugene Burger, Jeff McBride and maybe even dig deeper into the archives so as to see how some of the better known historic figures of the past worked this social niche. I know San Francisco mage James Hamilton has done a reproduction of the original Hermann parlor & stage act for most of the past 30 years and there are a few others out there who mimic Okito, Nikolta and even Houdini (who actually did a lot of "private party" type programs).
When it Comes to Actual Effects. . . NO ONE can tell you what's "best" in that they are not you -- YOU are the only person that can figure out routines & effects that "fit" your personality and likewise what will slowly become your "style". If I'm understanding your post correctly, you're "new" to this stuff and seek a bit of direction which leads me to reiterate a previous encouragement -- Learn All You Can About Manipulation Skills FIRST!. Not only is such the foundation of Parlor & Close-up Magic but with a solid understanding and skill level you can literally work anywhere with next to nothing outside a gift for gab and some favored routine sequences (including patter) that you've played with over the years. Bill Malone is one of the best examples of this when it comes to people I've known over the years; in his teens & early 20's Bill had Edd Marlo challenging him constantly when it came to slights and I believe Bill could sleeve a small elephant back in those days he was so good. While he took his time doing so, look where it's brought him.
Don't worry about the tricks, learn the foundation material & techniques first knowing that everything else will fall into place as you progress.
@CraigBrowning Your knowledge of magic and magic history is superb, and your advise is excellent. Thank you.
@Jongular Thanks for the recommendations! I'll certainly take a look at those. Random question, does your "nickname" come from the French word for juggler? If I'm not mistake, your "nickname" is the French word for juggler, or something very, very close.
@Jongular Thanks for the recommendations! I'll certainly take a look at those. Random question, does your "nickname" come from the French word for juggler? If I'm not mistake, your "nickname" is the French word for juggler, or something very, very close.
The accepted spelling nowadays is "jongleur", but as we were all mostly illiterate back then spelling was pretty flexible. I perform at Renaissance faires so have kind of latched on to that as a nickname.
Craig,
Awesome response. No one could have said it better!
I know a magician who was being shown things at Dean Dill's shop, and Dean was performing all sorts of different magic that blew him away. He simply asked one question, "Where did you learn that?" and he replied "Everything you saw is in Tarbell." So, it just goes to show how much amazing and fooling material can be found in that series. I still have yet to collect the Tarbell Volumes, but I might start with the new 900 Page Tarbell book recently put out on the market.
Awesome response. No one could have said it better!
I know a magician who was being shown things at Dean Dill's shop, and Dean was performing all sorts of different magic that blew him away. He simply asked one question, "Where did you learn that?" and he replied "Everything you saw is in Tarbell." So, it just goes to show how much amazing and fooling material can be found in that series. I still have yet to collect the Tarbell Volumes, but I might start with the new 900 Page Tarbell book recently put out on the market.
I remember when Bob Jardin first started doing the Rubber Bands (penetration) at the Hat & Hare pub in the Magic Castle, he had dozens of us chomping at the bit for the longest time (over a year). Finally, someone found it in Tarbell and slowly but surely a long forgotten effect from over 60 years ago (in the day) came back into vogue, even surpassing it's former glory; Doug Henning was notorious for doing the very same thing. Situations like this is why I still believe every first year student of magic owes it to his/her self to invest themselves into the Tarbell material.
HOWEVER there is one small point I need to make here; you may find it easier to learn certain moves (especially slights) by way of sources not available in Dr. T's day. The Wilson Course has simplified a lot of this as has the Bill Tarr "Now You See It - Now You Don't" books. In other words, use Tarbell as a foundation for knowledge with the understanding that you may require other resources so as to better understand and approach routines that interest you. Too, there is absolutely nothing wrong with augmenting Tarbell (or any of the older material) with techniques and technology that's more current (there's some very clumsy bits in there when it comes to big illusions that can be readily improved upon)
HOWEVER there is one small point I need to make here; you may find it easier to learn certain moves (especially slights) by way of sources not available in Dr. T's day. The Wilson Course has simplified a lot of this as has the Bill Tarr "Now You See It - Now You Don't" books. In other words, use Tarbell as a foundation for knowledge with the understanding that you may require other resources so as to better understand and approach routines that interest you. Too, there is absolutely nothing wrong with augmenting Tarbell (or any of the older material) with techniques and technology that's more current (there's some very clumsy bits in there when it comes to big illusions that can be readily improved upon)
You know Craig, I'm not ashamded to admit that I frequently go back to Wilsons course (I would tarbell if I owned one) for inspiration. Even though the material is old.... it's still gold.
I thought so! I juggle some. Actually I was a juggler for a while before I got into magic. My family likes the juggling more, but I like magic because I can see the people's faces when they realize that they're completely amazed. Granted, I could do that juggling, but it was harder, especially when doing tricks.
I must confess that I never used the Tarbell notes on this piece and was taught the bit by another Castle members.
On the topic of the Tarbell Course however, here's the link and it will be the best $40.00 you ever INVESTED into your magic.
On the topic of the Tarbell Course however, here's the link and it will be the best $40.00 you ever INVESTED into your magic.
Thanks Craig. It's nice to have someone like you on these boards with your vast working knowledge.
I'm sure most of you know this is available as well. A lot of the gentlemen in our Ring purchased it and love it.
http://www.penguinmagic.com/p/2492
I own the Now you See It, Now you Don't books (Both Volumes) and they are outstanding as well.
I'm sure most of you know this is available as well. A lot of the gentlemen in our Ring purchased it and love it.
http://www.penguinmagic.com/p/2492
I own the Now you See It, Now you Don't books (Both Volumes) and they are outstanding as well.