Propless Mentalism

[Dylenium]

Hi Everyone,

I recently started with learning Mentalism. I am especially interested in mentalism without any Props, or as few as possible. So I wanted to ask if you have any recommendations where to learn that. I prefer books but videos are ok too. What I found so far are the books by Banachek, but I heard those are better when you already have a bigger knowledge of mentalism so I will wait a bit before I purchase them. Also the name Peter Turner showed up often, but I dont know which of his stuff is well suited for beginners.
So far I already studied the full facts book of cold reading and super psychic readings by Ian Rowland. These went in the right direction but as Rowland pointed out, these arent things to really "perform", there is no "tadaa" moment so I would use this more to strenghten the overall effect and not to build a performance on.
Also I started to read the new encyclopedia of stage hypnotism, since I read this would be great to learn about suggestion. Maybe some of you can tell me if this is really worth the read or if there are other / better books on the subject of suggestion.
Thank you all in advance for replying

 

[WitchDocIsIn]

there is no "tadaa"

If you want to really delve into mentalism you'll find, more and more, there's not a lot of "tada" moments in general.

Also I started to read the new encyclopedia of stage hypnotism, since I read this would be great to learn about suggestion.

Oof. If you're just wanting to learn about suggestion this is a bit overkill. It is, as it says, an encyclopedic look at hypnosis. So yes it will teach you suggestion, but it will in the specific context of a stage hypnosis show, and what's more it's a bit dated by now. The information still works, but there are much more efficient methods to use these days.

An effective source for learning suggestion would be Lewis LeVal's ICAIS vol 1. It covers the basics and you can build from there. Another option is Anthony Jacquin's Reality is Plastic. That's also a hypnosis book, but it is much less of a project to get through than the Encyclopedia and a bit more up to date.

The bulk of material I use revolves around suggestion and readings.

 

[Liderc]

depends on what you consider a 'prop' and what you are willing to sacrifice as far as naturalism to get the desired result

we could discuss what is 'natural' and 'unnatural' but it would depend on the situation and where you are performing, why are you carrying a book, or a special pad, or this unique "prop" that you only introduce to do a routine and then put it away, and can you justify it and "prove" it is not specially built or a special prop that does the work. but if you are doing a show, or performing a more parlor type show, you can make it a more natural "prop" through your performance

is it a "hired performance" or are you doing more guerrilla-style magic, as a hired performer people would expect you to have things on you to demonstrate something, versus a more "guerrilla-style"


also depends on what kind of mentalism you want to do, mind-reading, predictions, PSI etc because they would require different "props" and some more... invisible "props"

 

[Liderc]

would you consider paper a "prop"? knowing the "Acidus Novus" Is something you can use in multiple situations and involve in into other "magic" routines as well

Peek Performances and Peek Encores by Richard Busch is a quality source for some billet work, also Switchcraft by Elliot Bresler is another quality source for techniques, theory, and routines involving billet work

 

[ChaseC6]

@Liderc is right, it’s more of a question on does the prop make since. As far as I know the majority of mentalism involves props (even if it’s just a pencil and a piece of paper). You just need to justify why you have the prop and why you are using it. However, there are some props you can use that are invisible to the spectator such as a nail writer. So it really depends on your definition of “propless.” To get started in propless mentalism I would suggest Mentalism Masterclass by Peter Turner.

 

[Liderc]

Agree with @ChaseC6, there are "invisible props" that wouldn't be considered props to an audience

also, how much process do you want? you can do a routine say with only words/math etc, that is going to require a lot of process, or you can do something say... someone writes a "thought" down, less "process" but we involve paper, pen, etc what may be assumed as "props"

but again, many times we get into overthinking like "magicians/mentalists" we think a paper would be a prop when to a spectator it is a natural object that you use, add in an invisible "prop" and you have something with less process and more "affect"

think of this situation

1: asking someone to think of a number, and having to go through a process of actions, mental actions, math, "forces" etc

2. asking someone to think of a number and you reveal you had it already written down

a basic example, but you get the overall idea

but I would suggest to learn about as much of the craft as you can, the "propless" and the "prop" be ready for any situation, learn the techniques to combine into something for any situation, and scenario, so you are always prepared for anything

 

[WitchDocIsIn]

Technically any physical item is a 'prop'. It may also be gaffed or gimmicked, but normal items are props as well.

I think 'propless' is seen as something of a big achievement. Kind of like having a burnable pass for a card magician. Personally, and I say this as someone who not only uses a fair amount of 'propless' material but also wrote a book on propless seance techniques, it's often a misguided goal. As @Liderc pointed out, the process that replaces a simple prop like paper and pen, is often overly complicated and really removes the sense of mystery and replaces it with a logic puzzle.

I generally have a couple rules - 1) Don't make anyone do any math more complicated that simple addition. 2) Don't have more than a couple phases before the audience starts to feel something wonderful.

To that end I don't like the majority of what's on the market currently. I think most of it would have been better left as the thought experiment that probably initiated it. Personally, and again as @Liderc said, I think it's better to worry about creating routines that have psychologically invisible methods such as pen and paper that are forgotten about.

That being said I've gotten good propless material from guys like Paul Voodini, Bill Montana, Lewis LeVal, Anthony Jacquin, and Aaron Alexander.

 

[scottbaird]

May I suggest a change in viewpoint?

I recently started with learning Mentalism.

That's awesome! There is a LOT out there to learn. Do you have a background in magic, sleight of hand, or any other related art?

I am especially interested in mentalism without any Props, or as few as possible. So I wanted to ask if you have any recommendations where to learn that.

It's great that you have this specific interest, may I ask why?

Is it because from your point of view these effects are stronger, due to the apparent impossibility implied by making it look like "true mindreading"? As in, "he just asked me to think of something and guessed it right away?!!"

I believe that this comes from an egotistical desire that all magicians and mentalists have, to perform as close as possible to as if you are truly psychic or have magical powers, and therefore confirm your superior power over your audience. And that's okay. But magic and mentalism isn't about you. You're an entertainer, first and foremost, and creating the most fooling routine is only a small part of that experience.

Speaking of ego, the petty differentialists who feel the need to constantly distinguish between mentalism and mental magic are also being driven by their egos. There is no difference between using playing cards to perform a feat of mental magic and using spirit slates, nail writers, impression pads, etc. as a mentalist. Secret methods are magic, plain and simple. You can dress it up however you like.

Regardless, I doubt anyone walked away from a mentalist's performance saying "he read minds and got everything right, but he had to use a book for his book test, so it must just be some sort of trickery". If that's the audience's takeaway, the props aren't the problem, the performer is.

Props can be tools that help you entertain. What can props do?

Fill the stage
Provide visuals for your audience to look at. Introduce colour. Take the heat off of you.

Provide clarity
Suppose you're doing a routine where you're divining the colour of three objects in three audience member's hands, on stage. The volunteers can switch the coloured objects between themselves so that you can't possibly know who is holding what. You can do this blindfolded, with your back turned to your volunteers, facing the audience. The audience can't see what's happening, and because the prop is tiny and in closed fists, they aren't a part of the experiment.

Now suppose the volunteers were wearing coloured hats. Or holding giant coloured beach balls. Now the audience is in on it, and can feel like they are able to clearly follow the effect. Clarity is provided for the routine by the props.

Heighten what's abstract
Think of a number from one to fifty-two.
or
Think of a playing card.

The choice is the same, but the audience will have a different grasp of the odds and possible outcomes due to the visual nature of the playing cards over the abstract nature of the random number.

A direct hit with the number causes most people to automatically think, "Can he do it again? Maybe he got lucky".
A direct hit of the playing card is direct, and depending on the selection procedure, leaves you without that sense of "possible luck".

Method
Props can be the method. AND THAT'S OKAY!

I prefer books but videos are ok too. What I found so far are the books by Banachek, but I heard those are better when you already have a bigger knowledge of mentalism so I will wait a bit before I purchase them. Also the name Peter Turner showed up often, but I dont know which of his stuff is well suited for beginners.

All mentalism is better when you already have a bigger knowledge of mentalism, because it can all be used to build on each other. Some of the most fooling and creative mental effects rely on basic principles that can be found in 13 Steps by Corinda or the work of Annemann. They just ALSO incorporate other principles, ideas, and methods.

I recommend starting with the absolute basics. They will be basic, but you'll use those principles for the rest of your life.

What I propose is that you study ALL of mentalism right now, without narrowing to your specific interest. Learn the prop tricks! Even if you are only going to perform mentalism that can be done without props, you will be better off with a wider knowledge of what can be accomplished with the use of props as well.

Scott.

 

[Dylenium]

Thanks to all of you for the fast and detailed answers!
First I think I should have included that I dont want to exclusively do mentalism without props. I also bought practical mental magic to start learning about props and sleights. But there is no problem on finding more resources to stuff like that because it is listet in every beginners guide to mentalism, thats why i didnt ask for more books on that topic. However i had trouble finding something on propless mentalism. I will definetly look into the books and routines suggested!
To why I like propless mentalism: its just what fascinates me the most. Its not even about wantig to be looked at as real psychic (I really dont want that) and I agree that you can make bigger "miracles" with the right props, but thats just the part that interests me the most (right now).

 

[M_Watson]

In my opinion, the best propless effect, by far and away, is Proteus by Phedon Bilek. A spectator thinks of a drawing and you know it. Simple as that. Now, the reason why I like this effect so much isn’t only because of the incredible effect, but because of the versatility. Depending on how you frame it, it can be influence or mind reading. Drawing duplication or drawing divination. Phedon even provides some subtleties that can turn it from a drawing trick to an any object trick. It can be performed on one or two people simultaneously. It’s also incredibly reliable and EASY. I once taught an eight year old aspiring mentalist this system. Practice is required to become consistent, but once you learn it, even if you rarely use it, you never forget it. I encourage you all to look into this.