[Ebook] Luca Volpe – Nephthys

Luca Volpe – Nephthys

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Following the great response from his first book “HORUS” Luca Volpe returns with his second work “NEPHTHYS”. In this ebook Luca Volpe has incorporated many psychological aspects and basic methods to create mindblowing experiences that are 100% surefire!! All of the effects come complete with script and performance tips.

Here are the routines that are included in the book:

DOUBLE PREDICTION : An incredible headline prediction with a very clever method! Easy to do and invisible to the spectator!!

PHOTO CONNECTION : You call a spectator on stage and hand him a sealed envelope, you tell him that there is something special inside. You ask him to phone his friend and to pass the phone to you. Once his friend is on the phone, you ask him to name a famous city from anywhere in the world, for example he will answer VENICE. The spectator on stage opens the envelope and finds a photo of VENICE!

DIRECT BOOK TEST (No gimmicked book test) : A spectator is called on stage and you ask him (or her) to choose one of three books (no gimmicked books!) Once he has chosen, you ask him to open at any page he wants and to read the first word on the page. You take a blank business card, write something down and put it on the table. He tells you the word and turns the card to see the exact same word written on it. You ask him to open the book at the same page but to read the last word this time. You take the card that is on the table and on the other blank side you write something, again this word will be exactly correct. You tell him to turn to the page after the one he chose and to read either the first or the last word on this page, without fishing or anything suspicious, you tell him the same word that he is thinking!

SIXTH SENSE REVISITED : Call a spectator on stage, tell him to take a coin behind his back and to hold it in one of his hands, you also do this at the same time. He then brings his hands out in front and you do the same in front of you. Ask the spectator to open the hand that holds the coin and you then reveal that you hold the coin in the same hand as the spectator. You do this 3 times in a row!

REMOTE VISION : The person on the other end of the telephone is asked to imagine a simple image. You then draw something on a piece of paper. Afterwards you take a picture with your mobile phone that you send to him via MMS. The person opens the MMS to find the exact duplication of the image that he was thinking of.

DEJA WORDS : A spectator chooses a random word from a packet of different words under hypnotic suggestion. An envelope, that was present on stage throughout, is opened to reveal the word that was chosen by the spectator. At the end of the experiment the spectator believes to have been hypnotized.

USING THE MONOTONE OF THE VOICE : A tool that will enhance your performance by using the tone of the voice.

Here is the foreword by Alexander Marsh 🙁 http://www.psychomagic.co.uk )

“So, I’m sat here with a lovely mug of warm Tea and no less than three chocolate biscuits. Luca has just sent me a copy of this, his latest work and after reading it I am instantly reminded of how impressed I was the first time I read Luca’s work.
He seems to effortlessly combine simple and direct methodology with easily understood plotlines to create an astounding effect on his audience. I encourage you to take note of Luca’s work and how he achieves his effects; it’s a lesson in keeping things simple, clean and effective. Although there are a couple of close-up and ‘in the parlour’ effects here, Luca’s work really shines when it comes to stage effects. It’s a rare treat to find a performer who creates original effects for the stage, let alone publishes them.
An enjoyable element of Luca’s writing is that he doesn’t waste space by telling you how he thinks you should present each effect. He explains the basic effect as seen by the audience and then takes you through his methods for achieving this – his methods often being the most direct manner to achieve the desired outcome – leaving the window dressing to you and your own unique, interesting style. I know it’s become something of a cliche these days but these are effects for the working performer. If your audience rarely changes, i.e. you don’t perform often for new audiences whom have never seen you before; then this work may not be for you.
If, on the other hand, you perform regularly for strangers, actively seek new work, and want people to talk about you and the amazing things you can do, then this book will not disappoint. So sit back, grab a cup or glass of your favourite beverage and enjoy the fact that you will soon be performing the impossible.”