[Ebook|Exclusive] Neo-Magic Artistry by S.H. Sharpe

Sharpe’s Revised Editions of Neo-Magic and the Magic Artistry seriesIncludes additional material by David Devant, Doug Henning, Vito Lupo and Jeff McBride

Prepared by the late S.H. Sharpe, Neo-Magic Artistry combines Sharpe’s revised versions of his rare 1932 classic of magic theory, Neo-Magic, with three of his other scarce books from the 1930’s, Conjured Up, Good Conjuring, and Great Magic. Once again, Sam Sharpe will take you on his voyage through the meaning of magic and ways to transform your performances into fine art. You’ll also find over 30 original effects; Sharpe’s autobiography and additional Sharpe essays; the rarely-seen text of Devant’s magic drama The Supreme Test; and words on Sharpe by Doug Henning, Todd Karr, Vito Lupo, and Jeff McBride.

Printed On Acid-Free Paper With Full-Color Dustjacket“The inspired writings of Sam Sharpe provide a doorwa for magicians to jouney beyond stage illusion into the heart and soul of magic.” -Jeff McBride

“Follow Sharpe’s leads and you’ll discover new paths for your love of the art of magic.” -Vito Lupo

Contents (from Miracle Factory, numbers are not page numbers):

Foreword (Todd Karr)
Introduction (Vito Lupo)
A Philosophy of Wonder (Doug Henning)
The Enchanted Realm (Jeff McBride)
Sam Sharpe Peers into the Crystal Ball (S.H. Sharpe)
Remembering and Forgetting (S.H. Sharpe)

1 PART I NEO-MAGIC
2 Introduction
3 Preface to the Second Edition
4 Preface to the Third Edition
5 Ode to a Magician

6 1. Conjuring as a Fine Art
7 I. The Nature of Art
8 II. The Nature of Conjuring
9 III. Critical Objections to Conjuring as an Art
10 IV. Showmanship
11 V. Order of Merit of Conjuring Effects
12 VI. Popularity

13 2. Grades of Art
14 I. False Art
15 II. Formal Art
16 III. Naturalistic Art
17 IV. Imaginative Art
18 V. Absolute or Abstract Conjuring

19 3. The Originator
20 I. Conjurers Classified
21 II. Originality
22 III. Systematic Invention of Effects
23 IV. Forms of Assistance
24 V. Analysis of Magical Plots
25 VI. New Dramatic Plots
26 VII. Copyright

27 4. Patter
28 I. Types of Patter
29 II. Types of Patter, Part Two
30 III. Composition of Patter
31 IV. Making Magic Convincing
32 V. Complication and Climax
33 VI. Tragedy and Farce
34 VII. Comedy in Conjuring
35 VIII. Comedy in Conjuring, Part Two
36 IX. Comedy in Conjuring, Part Three

37 5. The Conjurer
38 I. The Inventor and Manufacturer
39 II. The Executive Conjurer
40 III. Desirable Qualities in a Conjurer
41 IV. Mastering the Craft

42 6. Production
43 I. Necessity of a Producer
44 II. Advertising
45 III. Styles of Presentation
46 IV. The Magical Sketch
47 V. Logic
48 VI. Logic, Part Two
49 VII. Consistency
50 VIII. Unfounded Suspicion
51 IX. On Leaving the Stage
52 X. Dramatic Types
53 XI. Preparing Against a Contretemps

54 7. Production, Part Two
55 I. Programme Construction
56 II. Audiences
57 III. Choice of Apparatus
58 IV. More About Audiences
59 V. Order of Effects
60 VI. Surprise, Suspense, Repetition, and Transition
61 VII. Holding Attention
62 VIII. Separate Item v. Sequenced Programme
63 IX. Pattern Programmes
64 X. Incidentals

65 8. Production, Part Three
66 I. Interest
67 II. Stage Fright
68 III. Emotional Appeal
69 IV. Scene
70 V. Schools of Conjuring
71 VI. The Legitimate Use of Apparatus

72 9. Production, Part Four
73 I. Action
74 II. Sound
75 III. Music
76 IV. Sound Effects

77 10. The Critic
78 I. Constructive Criticism
79 II. Objects of Criticism
80 III. Exposure
81 IV. Magic and Music
82 V. Exposing Minor Effects
83 VI. Exposing Sleight-of-Hand and Stage Magic
84 VII. Immunity of the Artist
85 VIII. Better Conjuring
86 IX. Mediums of Exposure
87 X. Conclusion

88 PART II MAGIC ARTISTRY
89 Preface

90 CONJURED UP

91 Part One: Good Conjuring
92 I. The Essence of Magic Criticism
93 II. Audiences
94 III. Audience Mentality
95 IV. Conditions of Presentation
96 V. Variety of Methods Desirable
97 VI. The Elements of Magic
98 VII. The Magical Plot
99 VIII. The Dramatic Plot
100 IX. Fantastic and Pseudo-scientific Plots
101 X. Pure, Story, and Symbolic Magic

102 Part Two: Poems in Illusion
103 Narcissus
104 By Candle Light
105 The Nervous Card
106 The Invisible Silkworm
107 Domination of Thought
108 Thoughts Are Things
109 Mediæval Multiplication
110 The Bluebells
111 Fantail

112 GOOD CONJURING

113 Part One: Good Conjuring
114 I. The Objects Used
115 II. Misdirection
116 III. Construction
117 IV. Characterisation
118 V. Technical Mastery
119 VI. Dramatic Ability
120 VII. Manner
121 VIII. Speed of Presentation
122 IX. Style
123 X. Magic-Artist versus Showman
124 XI. Summary

125 Part Two: Poems in Illusion
126 Catching The Post
127 Card Bubbles
128 Love: The Magician
129 The Two Jewels
130 Reflected Thoughts
131 Citizens of the World
132 The World’s Pearl
133 Poor Yorick!
134 Alice In Conjureland

135 GREAT MAGIC

136 Part One: Great Magic
137 I.
138 II. Styles of Conjuring
139 III. Factual Truth versus Poetic Truth
140 IV. Maintaining a Balance
141 V. Poetic Inspiration
142 VI. Magician or Trickster?
143 VII. Wake Up, Magic!
144 VIII. Art and Magic in Brief

145 Part Two: Dramatic Conjuring
146 The Unravelled Knots
147 Royal Blood
148 Iron, Silver, and Gold
149 Coincidence — or What?
150 The Chrysanthemums
151 A Silk-Producing Tube
152 The Gloomy Forest
153 The Willow Pattern
154 Invisible Influence
155 You Know Everything
156 Dream Stuff
157 Mammon
158 By Moonlight
159 The Mirror of Hereafter
160 Music to Enchant
161 Afterthought

162 Appendix 1
163 Devant and The Supreme Test (S.H. Sharpe)
164 The Supreme Test (Mark Ambient and David Devant)

165 Appendix 2
166 Sharpe’s Influence on Fitzkee (Todd Karr)
167 S.H. Sharpe Comments (S.H. Sharpe)

168 Appendix 3
169 Works by S.H. Sharpe
170 Acknowledgments