In the XV century. The girl was executed for witchcraft. It was in Germany. Her only fault was that she had performed a trick with a handkerchief: tearing it apart and then putting them together. turning into a scarf. Tricks passed down from generation to generation served for several hundred years not only for entertainment, but also to make the poor rich, rich - poor, and also brought joy to one and meant collapse for another.
Simultaneously with the development of magic tricks, there was an active development of deceptive tricks, which does not quite adorn the trick business. However true talent and the skill of the "correct" magicians can bring all dishonest tricks to naught. The first mention of magicians came to us from the distant XVII century. The inhabitants of Germany and Holland were indelibly impressed by the “magician” Ohes Vohes (the magician borrowed this name from the mysterious magician-demon or Norwegian legends).
During his magical sessions, the magician used to say: “Hocus pocus. tone talonus, vade celeriter ubeo*. The spectators, however, disassembled from all this muttering only the mysterious “hocus pocus”. Therefore, the wizard received the nickname of the same name. These magical elephants seemed funny to other representatives of the profession, they picked them up, and soon all illusionists and tricksters began to call their performances tricks.
At the end of the XVIII - beginning of the XIX century. with the development of mechanical engineering, mechanical illusory automatic toys appear. Three such mechanical dolls, which depicted human figures, were invented by the director of the physico-mathematical office of Vienna imperial palace Friedrich von Claus. His figures could write on paper.
The designer Jacques de Vaux-canune made functioning mechanical figures of a flutist and a drummer in full human height and a duck that could quack, peck food and flap its wings. The Hungarian Wolfgang von Kempelen invented the "chess player" piece, with which one could play a game of chess. But in fact, only the hand of the puppet moving the chess pieces on the board was mechanical, but it was controlled by a chess player - a man sitting inside.
In the XVIII century. The performances of magicians were perfected by the Italian Giuseppe Pinetti. It was he who first began to show tricks not on the market squares, but on the real theater stage. He made it an art for a sophisticated audience, furnishing tricks with lush scenery, intricate plots. In the English newspapers of that time, notes about his performances in London in 1784 were preserved. Pinetti surprised the audience with his abilities: he read texts from eyes closed, distinguished objects in closed boxes.
The magician even attracted the attention of the monarch of England, George III, who invited Pinetti to perform in front of members of the royal family at Windsor Castle. The magician did not lose face, he brought with him a huge number of assistants, exotic animals, complex mechanisms, large mirrors.
The history of tricks, or rather, illusions, is interesting because "false magic" in the full sense of the word is the science of magic, albeit not real. Being related to mechanics and optics, this science still retains full right be called high art, which combines practical theatrical spectacle with the mystical charm of everything inexplicable.
The art of illusion is purely individual, because a magician is a creative person who works exclusively alone (or in the company of assistants of the second plan). Unlike crooks and charlatans, professional illusionists take money only for demonstrating their art, and not for some useful consequences for the viewer, which supposedly will come after the "magic" session. However, for almost its entire history, magic tricks have been nothing more than a fraudulent means of exploitation. popular superstitions and religious myths, designed not so much to entertain the crowd as to intimidate and subdue it.
It's really Hocus Pocus
Continental Europe had the greatest influence on the appearance of modern illusionism. So, in the 17th century in Germany and Holland, the representations of a self-styled "wizard" who called himself Ohes Bohes (in fact, that was the name of the magician and demon from Norwegian legends) and used the pseudonym "Hocus Pocus" (Hocus Pocus) - a confusing phrase uttered by him during the bazaar "witchcraft" (it sounded in full like "hocus pocus, tone talonus, vade celeriter ubeo") in order to divert the attention of the audience.
This "spell", which according to some versions was a perverted text of the Catholic Mass "hoc est enim corpus meum" ("this is really my body"), was immediately picked up by other representatives of this craft and after a while became calling card all illusionists and tricksters. In Russian, this phrase was borrowed as the basis for a concept denoting a cunning trick or trick. It is noteworthy that in the Germanic group of languages the word "focus" is still used only as an optical term borrowed from Latin (focus - hearth, fire).
18th century: Giuseppe lights
The next stage in the development of the art of illusion was the 18th century. While most illusionists were doing small street tricks, the Italian magician Giuseppe Pinetti was able to take a huge step forward by transferring his "magic" to the stage of the theater. Pinetti's performances were distinguished by their sophisticated and opulent surroundings, which brought them to a whole new level of spectator performance.
So, in 1784, he performed in London, demonstrating the possibilities of the "third eye" (reading closed books, identifying objects in boxes, etc.). The success of these performances was so great that it attracted the attention of King George III, who, after some hesitation, invited the famous magician to Windsor Castle. It was there that Pinetti triumphantly staged a brilliant show that included dozens of assistants, exotic animals, as well as hidden mechanisms and complex systems of mirrors. The wings of popularity carried the magician from England to Portugal and Germany. Finally, in 1800, he arrived in Russia, where he died safely at the age of 50.
It is worth noting that various writers and publicists repeatedly tried to uncover Pinetti's tricks and even published books with detailed descriptions of them. This greatly irritated the master, who was used to living in the style of his ideas - independently, richly and brightly. He wore the finest clothes that could be found and rode in the most expensive carriages. He was notable for moderate eccentricity, deliberately attracting the attention of the crowd with his extraordinary antics. For example, walking down the street, Pinetti could suddenly stop near a tray with fresh rolls and, having broken one of them, "discover" inside gold coin, which in a couple of seconds elusively turned into a decorative token with his own initials.
Pinetti belongs to main merit on the development of principles for building the image of a modern magician - recognition, unusualness, courage, artistry and slight pomposity. Speaking of the "sorcerers" of the 18th century, one should also mention Giovanni Giacomo Casanova (1725-1798) and Count Alexander Cagliostro (1743-1795), whose magical merits are so famous that they do not need to be listed.
"Matrix" of the Romantic era: dodge this!
The end of the 18th - the beginning of the 19th century - the time of the emergence of hundreds of professional magicians. At that time, "scientific" tricks became especially fashionable, when performers who called themselves "doctors" and "professors" described stage performances in the language of "science". For example, the Frenchman Jean-Eugene Robert-Houdin explained his famous trick with levitation by the properties of a certain gaseous substance - ether, supposedly penetrating the entire Universe. Robert-Houdin has become a legendary figure - now he is sometimes called the "father of the modern trick", because. he perfected the technique of performing many tricks and props, which subsequently became widespread.
For illusionism, the entire 19th century was marked by a blind imitation of the style of Giuseppe Pinetti. So, someone Blitz - a native of Hamburg, who received considerable recognition in England and the USA, became known for his creepy trick - shooting at himself with a real combat revolver. A spectacular, but very dangerous performance, from which a little later, on March 23, 1918, the famous "magician" Chung Ling Su ( real name this artist, who skillfully used makeup to create his trademark "Chinese" image, was Robinson). Later, this trick was complicated by the use of two pistols, the barrels of which were pointed at the chest or head of the magician.
What is the strength, Jean? And the power is in the magic!
In 1845, Europe learned the name of a young watchmaker from France who had invested all his money in renting the Valois Gallery in Paris to show absolutely phenomenal tricks. His name was Jean Robert-Houdin, but now he is also known as another "father of modern tricks". Robert-Goodin was and remains the only magician in the world who prevented a global international conflict with the power of his art alone.
The point is that to mid-nineteenth century, the Algerian colony was on the verge of rebellion against the French occupation. By special order of the government in 1856, Robert-Houdin left for Africa, where he took part in the competition of magicians, opposing local sorcerers with his latest tricks of catching a flying rifle bullet and lifting heavy chests with ease. This performance so impressed the gullible Algerians that a number of tribes immediately left the ranks of the uprising, which soon lost its former relevance and came to naught. This case is the only and largest duel of magicians in the history of mankind, which has real confirmation and decided the fate of several states at once.
The twentieth century was the culminating point in the history of the development of the art of stage magic, enriching it with a whole galaxy of names - the Englishman David Devant (levitation, mind reading), the Americans Thurston and Downs (card tricks), as well as Serva le Roy, Oswald Williams, Owen Clark, Walter Hince, Luis Nokola, Percy Shelbit and of course Harry Houdini (real name Eric Weiss) - an immigrant from Hungary, who had a unique talent for escaping. It seemed that there was not a single rope, chain, handcuffs, bars or chests that could hold him. One of the most popular magicians on the planet died on Halloween night, October 31, 1926, from a ruptured appendix caused by a blow to the stomach, which, with the personal permission of Houdini, was inflicted by his admirer in order to test his famous ability to withstand any force.
Show must go on!
Second World War has thrown a whole bunch of problems to the whole world that are fundamentally incompatible with entertainment. They simply forgot about tricks - only at concerts arranged between battles for the entertainment of soldiers, clowns occasionally performed the most unpretentious manipulative tricks.
In the middle of the century, entertaining illusionism had an unthinkably powerful rival - television, which made a cozy nest for itself in a weak human soul. A similar thing happened already at the end of the nineteenth century, when the ancient world of the theater fell to the invasion of the silent cinematograph. But fortunately, two-way contact between the viewer and the artist is still in great demand. This keeps both the theater and the circus afloat, which has taken most of today's magicians under its wing.
Currently, there are about 300,000 hardware illusion tricks and about 50,000 tricks based on sleight of hand. Today's stars are Paul Daniels, David Copperfield and Lance Burton. They and their followers will grace the dwindling constellations of non-mass culture until they die. last man on the ground. After all, people always want to believe that there is something that they do not yet know.
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ESSAY
HISTORY OF FOCUSES
The art of illusions (tricks) originated in ancient Egypt about five thousand years ago. Magicians of that time made jewels disappear and appear, decapitated geese. During tricks, huge statues of gods crawled out of the ground. These statues could stretch out their hands to the people, the statues could even cry. Such performances were considered either divine power or the power of darkness.
AT medieval Europe magic tricks were considered witchcraft and magicians paid for this with their lives.
In the 18th century in Germany and Holland, the performances of a self-styled "wizard" who called himself Ohes Bohes and used the pseudonym "Hocus Pocus" were very popular. During the “bazaar sorcery”, he used the confused phrases “hocus pocus, tone talonus, vade celeriter” in order to divert the attention of the audience.
This "spell" was immediately picked up by other magicians and after a while became the calling card of all illusionists.
In the 18th century, in England, illusionists and magicians gain some recognition and position in society. Thanks to this, hundreds of professional magicians appeared by the end of the 18th and beginning of the 19th centuries. And the so-called "scientific" tricks, that is, tricks that can be explained with scientific point vision.
Peculiaritiesmathematical tricks.
Mathematical games and tricks appeared along with the emergence of mathematics as a science.
Even in Ancient Hellas, personality development was not conceived without games. Our ancestors knew chess and checkers, puzzles and riddles.
We all know the great Russian poet M.Yu. Lermontov, but not everyone knows that he was a great lover of mathematics, he was especially attracted to mathematical tricks, which he knew a great many, and some of them he invented himself.
Mathematical tricks are interesting precisely because each trick is based on the properties of numbers, actions, and mathematical laws. There are a lot of mathematical tricks, they can be found in separate books for extracurricular activities Mathematics, you can come up with your own.
The main theme of arithmetic tricks is guessing the intended numbers or the results of operations on them. The whole secret of tricks is that the "guesser" knows and knows how to use the special properties of numbers, but the thinker does not know these properties.
The mathematical interest of every trick is to expose it theoretical foundations, which in most cases are quite simple, but are sometimes cleverly disguised.
Like many other subjects that are at the intersection of two disciplines, mathematical tricks do not receive special attention from either mathematicians or magicians. The first tend to regard them as empty fun, the second neglect them as too boring. Mathematical tricks, to put it bluntly, do not belong to the category of tricks that can keep an audience of non-mathematicians spellbound; such tricks usually take a lot of time, and they are not very effective; on the other hand, there is hardly a person who is going to draw deep mathematical truths from their contemplation.
And yet, mathematical tricks, like chess, have their own special charm. Chess combines the elegance of mathematical construction with the pleasure that the game can deliver. In mathematical tricks, the elegance of mathematical constructions is combined with amusement. It is not surprising, therefore, that they bring the greatest pleasure to those who are simultaneously familiar with both of these areas. trick math illusion
Mathematical tricks - the most favorite entertainment of the 17th-18th centuries. The ability to guess the intended number, the result of arithmetic operations, was considered in those days almost witchcraft. Many did not know that these guesses are based on very simple properties some numbers and mathematical operations. However, even now mathematical tricks are great entertainment, they cause sincere amazement and general interest, and most importantly - contribute to the formation of the logical thinking of schoolchildren, instill in them a love for mathematics, show the wonderful possibilities of this science.
Currently, there is a huge number of the most diverse mathematical tricks, which are based on various mathematical theories, as well as the properties of the objects involved ( dice, cards, dominoes, calendars, etc.).
Guessing the number of cards taken from the deck
The demonstrator asks one of the spectators to remove a small pack of cards from the top of the deck, after which he himself also removes the pack, but with a slightly larger number of cards. Then he counts his cards.
Let's say there are twenty. Then he declares: "I have four cards more than you, and enough more to count to sixteen." The spectator counts his cards. Let's say there are eleven. Then the showman lays out his cards one by one on the table.
Counting up to eleven. Then, in accordance with the statement he made, lays four cards aside and continues to lay cards, counting further; 12, 13, 14, 15, 16. The sixteenth card will be the last, as he predicted.
The trick can be repeated over and over again, and the number of cards put aside must be changed all the time, for example, one time there may be three, another five, and so on. At the same time, it seems incomprehensible how the showman can guess the difference in the number of cards without knowing the number of cards taken by the spectator.
Explanation. In this too simple trick the shower does not need to know the number of cards in the spectator's hand at all, but he must be sure that he has taken more cards than the spectator. The showman counts his cards; in our example there are twenty. Then arbitrarily takes some small number, say four, and subtracts it from 20; it turns out 16. Then the demonstrator says: "I have more than you have by four cards and so many more to count to sixteen." The cards are recalculated as explained above and the statement is true. ).
Using the Numerical Values of the Cards
Focus with four cards
The deck of cards is shuffled by the spectator. The demonstrator puts it in his pocket and asks one of those present to name any card aloud. Suppose the queen of spades will be named. Then he puts his hand in his pocket and takes out some card of spades; this, he explains, indicates the suit of the named card. He then draws a 4 and an 8 for a total of 12, the numerical value of a lady.
Explanation. Before demonstrating this trick, the demonstrator removes an ace of clubs, a two of hearts, a four of spades and an eight of diamonds from the deck. Then he hides these cards in his pocket, remembering their order.
The deck shuffled by the spectator also falls into the pocket, and so that the selected four cards are on top of the deck. Those present do not suspect that when the deck was shuffled, four cards were already in the pocket of the demonstrator.
The numerical values of the four cards put aside form a series of numbers (1, 2, 4, 8), each of which is twice the previous one, and in this case, as you know, by combining them in various ways, you can get any whole number from 1 to 15 in total. .
The card of the required suit is drawn first. If she must participate in a combination of cards that add up to the desired number, then she is included in the total score along with one or more cards that are additionally drawn from the pocket. Otherwise, the first card is set aside, and one or more cards are taken from the pocket, necessary to obtain the desired number.
When showing our trick, one of the four selected cards may also be randomly named. In this case, the demonstrator immediately pulls it out of his pocket - real "magic"!
The series of numbers we encountered in this trick, each of which is twice as large as the previous one, is also used in many other mathematical tricks.
Amazing Prediction
One of the spectators shuffles a deck of cards and puts it on the table. The demonstrator writes the name of the card on a piece of paper and, without showing anyone what has been written, turns the sheet over with the inscription down.
After that, 12 cards are laid out face down on the table. Someone present is asked to name four of them. These cards are immediately revealed, and the remaining eight cards are collected and placed under the deck.
Let's assume that a three, a six, a ten, and a king were revealed. The showman says that on each of these four cards he will stack cards from the deck until he counts to ten, starting from the number following the numerical value of this card. So, for example, seven cards will have to be put on a three, while saying: “4, 5, 6, 7, 8, 9, 10”; four cards will need to be laid on the six; you don’t have to put anything on the top ten; figure card in this focus is also assigned the numerical value of 10.
Then the numerical values of the cards are added up:
3 + 6 + 10 + 10 = 29
The rest of the deck is given to the spectator and he is asked to count 29 cards. The last one opens. The sheet with the card predicted in advance is turned over, and what is written is read aloud. Of course, there will be the name of the newly opened card!
Explanation. After the deck has been shuffled, the showman must discreetly see which card is at the bottom of the deck. It is this card that he predicts. Everything else comes out by itself. After eight of the twelve cards have been collected and placed under the deck, the seen card will be the fortieth in order. If all the operations mentioned above were performed correctly, we will invariably come to this card). The fact that the deck is shuffled first makes this trick particularly effective.
It is interesting to note that in the trick described, as in others based on the same principle, the showman can allow the viewer to assign any numerical values to jacks, queens and kings.
The trick, in fact, requires only one thing: that there are 52 cards in the deck; what kind of cards they will be does not play the slightest role. If they are all twos, the trick will work too. This means that the spectator can assign any new meaning to any card he likes, and this will not affect the success of the trick.
Tricks based on the difference in colors and suits
Focus with kings and queens
Kings and queens are chosen from the deck and laid out in two piles: kings separately, ladies separately.
The piles are turned face down and stacked one on top of the other. The spectators are asked to "take down" our deck of eight cards one or more times.
The demonstrator removes the pile behind his back and immediately opens two cards to the audience. It turns out that this is a king and a queen of the same suit. The same can be demonstrated with the other three pairs.
Explanation. The demonstrator should only take care that the sequence of suits in the two initial piles is the same.
"Removing" this sequence will not break. Behind the back, the demonstrator only divides the pile strictly in half and receives the right pairs by taking the top card in each half. This pair will always have a king and a queen of the same suit).
The use of face and reverse sides kart
Comparison of the number of cards of black and red suit
Ten cards are chosen from the deck: five red and five black. Cards of any one color are turned over, and all ten cards are carefully shuffled by the spectator. For a moment, the shower removes the cards behind his back. Then he stretches his hands forward, holds in each of them five cards, which are immediately laid out on the table. The number of open cards in each five turns out to be the same, and these cards will be of a different color. For example, if there are three red cards in one five, then three black cards will be open in the other five. The trick can be repeated as many times as you like, and it will always succeed.
Explanation. It is not difficult to figure out that among the cards of one five there will be as many open cards (and they are of the same color, for example black) as there are closed (red) ones in the other five.
Behind the back, you should simply divide the pack in half and, before showing the cards to the audience, turn one of the halves over. Thus, due to the fact that the cards are reversed, the number of open cards in each five will be the same and these cards will be of different colors. In this trick, of course, you can use any even number of cards, you just need to have half of them red and half black.
"Manhattan Wonders"
The spectator is asked to remove the deck approximately in the middle, taking any half for himself and counting the cards in it.
Let's say there are 24. Two plus four makes six. The spectator notices the sixth card from the bottom in his semi-deck, puts this semi-deck on another and, having trimmed the cards, hands them over to the showing one. The latter begins to deal cards one at a time on the table, while pronouncing the phrase “M-a-n-x-e-t-t-e-n-s-to-i-e h-u-d-e- s-a ”(“ The Magic of Manhattan ”), and so that there is one letter for each laid card. Along with the last letter, the seen card will appear.
Explanation. As a result of the described procedure, the selected card always ends up in the nineteenth place from the top. Therefore, any nineteen-letter phrase, for example "P-o-r-a-s-i-t-e-l-n-s-e f-o-k-u-s-s" leads to the desired map) .
Dice
Dice are as old as playing cards, and the origin of the game is just as obscure. And yet, it is surprising to note that the earliest known dice of ancient Greece, Egypt and the East have exactly the same form as modern ones, that is, a cube with numbers from one to six, printed on the sides of the cube and arranged in such a way. so that their sum on opposite faces is equal to seven. However, the cubic shape of the dice is explained by the fact that only a regular polyhedron provides complete equality of all faces, and of the five regular polyhedra that exist in nature, the cube has a clear advantage as an attribute of the game: it is the easiest to make, and, moreover, it is the only one of them, which rolls easily, but not too much (the tetrahedron is more difficult to roll, and the octahedron, icosahedron, and dodecahedron are so close in shape to a ball that they quickly roll away). Since the cube has six faces, the application of the first six integers on them suggests itself, and their arrangement with the sum - seven - seems to be the simplest and most symmetrical. And this is, by the way, the only way of their pairwise opposite arrangement, so that the sums of all pairs are the same.
It is this "principle of the seven" that underlies most mathematical tricks with dice. In the best of these tricks, the said principle is applied so subtly that no one suspects it. As an example, consider one very old trick.
Guessing the amount
The demonstrator turns his back to the audience, and at this time one of them throws three dice on the table. Then the viewer is asked to add up the three numbers that have fallen out, take any dice and add the number on its lower face to the amount just received.
Then again throw the same die and add the number that has fallen out to the sum again. The demonstrator draws the attention of the audience to the fact that he can by no means know which of the three dice was thrown twice, then he collects the dice, shakes them in his hand and immediately correctly names the final amount.
Explanation. Before collecting the bones, the showman adds up the numbers facing up. Adding seven to the resulting sum, he finds the final sum.
Here is another witty trick based on the principle of the seven. The demonstrator, turning his back to the audience, asks them to make a column of three dice, then add the numbers on two adjoining faces of the upper and middle dice, then add to the result the sum of the numbers on the adjoining faces of the middle and lower dice, and finally add another number to the last sum on the lower face of the lower bone. In conclusion, the column is covered with a scarf.
Now the demonstrator turns to the audience and takes out a handful of matches from his pocket, the number of which turns out to be equal to the sum found by the viewer when adding five numbers on the faces of the cubes.
Explanation. As soon as the viewer has added up their numbers, the demonstrator momentarily turns his head over his shoulder, ostensibly to ask the viewer to cover the column with a handkerchief. In fact, at that time he manages to notice the number on the upper face of the upper cube. Let's say it's six.
There should always be 21 matches in your pocket. Grabbing all of his matches, Showing, taking his hand out of his pocket, drops six of them back. In other words, he pulls out all the matches without as many as the number at the top of the column. This number of matches will give the sum of the numbers on the five faces.
The fact that the viewer is adding the numbers on the adjacent faces of adjacent dice, rather than the mutually opposite numbers of the same dice, serves as a good disguise for the application of the seven principle.
This trick can be demonstrated without using the principle of the seven. You just need to notice the numbers on any two faces of each of the cubes. The fact is that there are only two different ways of numbering the dice, and one of them is a mirror image of the other and, moreover, all modern dice are numbered the same way: if you hold the die so that the triple 1, 2 and 3 is visible, then the numbers in it will be arranged in the reverse order of the clockwise movement (Fig. 1).
By mentally drawing to yourself the relative position of the numbers 1, 2, 3 and remembering the principle of the seven, in order to imagine the location of the numbers 4, 5, 6, you can look at the column from the side (the top face of the top cube is first covered with a coin), correctly name the number on the top face of any cube. With good spatial imagination and a little practice, this trick can be shown with amazing speed.
Calendars
There are many interesting tricks with the use of the timesheet calendar. Here are some of the more interesting ones.
Mysterious squares
The demonstrator stands with his back to the audience, and one of them selects any month on the monthly table calendar and marks on it some square containing 9 numbers. Now it is enough for the spectator to name the smallest of them, so that the demonstrator immediately, after a quick count, announces the sum of these nine numbers.
Explanation. The demonstrator needs to add 8 to the named number and multiply the result by 9).
Matches
There are many mathematical tricks in which small objects are used simply as units of account. We will now describe a few tricks for which matches are especially useful, although other small objects, such as coins, pebbles, or pieces of paper, are also suitable.
How many matches are clenched in a fist?
The following trick is based on a similar principle, for the display of which a box of 20 matches is needed. The demonstrator, turning his back to the viewer, asks him to pull out several matches from the box (no more than ten) and put them in his pocket. The spectator then counts the matches remaining in the box. Let's say there are 14 of them. He “writes out” this number on the table as follows: the unit is represented by one match placed on the left, and the four is represented by four matches placed somewhat to the right. These five matches are taken from among those left in the box.
After that, matches depicting the number 14 are also placed in the pocket. In conclusion, the viewer takes out a few more matches from the box and clamps them in his fist.
The demonstrator turns to face the audience, pours the matches out of the box onto the table and immediately names the number of matches clenched in his fist.
Explanation. To get the answer, you need to subtract from nine the number of matches scattered on the table. ).
Who took what?
Another old trick can be shown with 24 matches, which are stacked next to three small objects, say, a coin, a ring and a key. Three spectators are asked to take part in the focus (we will call them conditionally 1, 2, 3).
The first spectator receives one match, the second - two, the third - three. You turn your back on them and ask each of them to take a little thing from those lying on the table (let's denote them BUT, B and AT).
Offer now to the viewer holding the item BUT, take exactly as many matches from among those remaining in the pile as he has in his hands. The spectator, taking B, let him take twice as many matches as he has in his hands. Last spectator to take the item AT, offer to take four times as many matches as he has on hand. After that, have all three spectators put their objects and matches in their pockets.
Turning to the audience and looking at the remaining matches, you immediately tell each spectator what item he took.
Explanation. If there is one match left, then spectators 1, 2 and 3 took the items respectively BUT, B and AT(in that order).
If there are 2 matches left, then the order of the items will be B, BUT, AT.
If there are 3 matches left, then BUT, AT, B.
If there are 4 matches, then someone made a mistake, since such a remainder is impossible.
If 5, then the order of the items will be B, AT,BUT.
If 6 then AT,BUT,B.
If 7 then AT,B, BUT ).
A convenient mnemonic would be a list of words whose consonants (in the order in which they are written) correspond to the initial letters of the names of the three selected items. So, for example, if you show a trick with a spoon, fork and knife, then you can offer the following list of words:
1. L and V e N.
2. L e N i V e c.
3. V o L a N.
5. V a N i L.
6. N e V o L i.
7. N a L and V k a.
Here the letter "L" should denote a spoon, "B" - a fork, "H" - a knife. Letters are arranged in words in the order corresponding to the order of objects. The numbers in front of the words indicate the number of matches left.
coins
Coins have three properties that make them convenient for demonstrating mathematical tricks. They can be used as counting units, they have a certain numerical value and, finally, they have front and back sides.
Each of the following three tricks demonstrates one of these three properties.
Mysterious Nine
A dozen (or more) coins are placed on the table in the form of a nine (fig. 2).
The demonstrator stands with his back turned to the audience. Someone present thinks of a number more coins in the "leg" of the nine, and begins to count the coins from the bottom up along the leg and, further, counterclockwise along the ring until it reaches the intended number. Then he counts again from one to the intended number, starting with the coin where he left off, but this time clockwise and only around the ring.
Under the coin on which the account ended, a small piece of paper is hidden. The demonstrator turns to the table and immediately picks up this coin. Explanation. Regardless of what number was conceived, the account always ends on the same coin. First, do all this in your mind with any number to find out what kind of coin it will be. When repeating the trick, add a few coins to the leg, then the count will end in a different place.
Which hand is the coin in?
Here is an old trick that uses the numerical value of a coin. Ask someone to take a dime in one fist and a penny in the other. Then suggest multiplying the number of the coin in the right fist by eight (or any other even number) and the number of the other coin by five (or any odd number you like). By adding these two numbers, the viewer should tell you if the number is even or odd. After that, you tell him which coin he has in which hand.
Explanation. If the sum is even, then in the right hand is a penny; if odd - a dime. Hosted on Allbest.ru
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History of occurrence. The word illusio is translated from Latin as delusion or deceit. But no one knows where the word focus came from. There are several versions. The most popular of them - it all started with latin phrase hockey est corpus meum. This phrase is translated as this is my body. It was pronounced by the priests at the evening meal and symbolized the religious rite of turning bread into the body of God. Later, the phrase turned into hokus-pokus and began to be used to refer to all types of transformations.
Mysterious Nine. The coins are placed on the table in the form of a nine. One of those present thinks of a number greater than the number of coins in the "leg" of nine, and begins to count the coins from bottom to top along the leg and, further, counterclockwise along the ring until it reaches the intended number. Then he counts again from one to the intended number, starting with the coin where he left off, but this time clockwise and only around the ring.
Guessing the amount. The demonstrator turns his back to the audience, and at this time one of them throws three dice on the table. Then the viewer is asked to add up the three numbers that have fallen out, take any dice and add the number on its lower face to the amount just received. Then again throw the same die and add the number that has fallen out to the sum again.
Focus secret. Before collecting the bones, the showman adds up the numbers facing up. Before collecting the bones, the showman adds up the numbers facing up. Adding seven to the resulting sum, he finds the final sum. Adding seven to the resulting sum, he finds the final sum.
Focus secret. 2*8 = = 21 (odd, so in the right hand 1*5 = 5 2 rubles, and in the left - 1 rub.) 1*8=8 8+10=18 (even, so in the right 2*5= 10 hand 1 rub., and in the left - 2 rub.)
Focus secret. Fives of cards must be collected starting from the first spectator, clockwise; the cards of the demonstrator will be the last and will be on top of the pack. Then all the cards are laid out in piles of five cards each; Any of the heaps can be opened to the audience. Now, if viewer number two sees the intended card, then this card will be the second one, counting from the top of the pile. If the fourth spectator sees his card, it will be the fourth in the pile. In other words, the location of the intended card in the pile will correspond to the number of the spectator, counting from left to right around the table.
Psychological moments. Another category of number tricks is based on what are called psychological moments. These tricks do not always work, but for some unknown reason psychological nature the chances of success in their demonstration are much greater than might be expected.
We conducted a survey among students in grades 5-11. It included the following tasks: We conducted a survey among students in grades 5-11. It included the following tasks: 1. Name any number from 1 to Name any number from 1 to Name a two-digit number between 1 and 50 so that both of its digits are odd and distinct. The number 11 is not allowed. 4. Name a two-digit number from 50 to 100 so that its numbers are even and distinct.
The art of mastering magic and illusion comes from antiquity. It was in the Middle Ages at the fairs that you could see all sorts of magicians who used mechanisms and tricks that were unimaginable at that time. This compilation has kindly collected for you a selection of the most amazing tricks and tricks that won the hearts of even the most severe critics.
David Blaine "Frozen in Time" On November 27, 2000, millions of viewers watched David Blaine perform one of the most dangerous magic tricks in history. live. He was placed in an ice capsule, and in this frosty sarcophagus he spent 63 hours 42 minutes and 15 seconds. Since the ice was transparent, everyone could be sure that Blaine was really there all the time. After being removed from the ice capsule, he was immediately hospitalized as he was in a state of disorientation.
David Copperfield - Portal. David Copperfield deserves the highest marks of all illusionists for his superb performance of many magic tricks. Many consider him the most talented magician of all time. In this case, he managed to teleport himself and another bystander to Hawaii. This trick has never been repeated and is still a mystery to many people.
David Copperfield - "Thirteen" David Copperfield is well known for his acting skills and sense of humor, as well as his ability to easily get along with any audience, which resonates with viewers from all over the world. The trick is difficult to explain logically and is considered one of the the best tricks in the history of magical art. After all, no one has yet managed to make thirteen people disappear in the blink of an eye.
Paul Daniels and his "Cup" (1995). The audience loved the performances of Paul Daniels because they were dynamic and really exciting. With his quick hand movements, Paul could entertain the audience for such a long time that he was rightfully considered the best magician in his genre. The Hollywood Academy of Magical Arts in 1983 even awarded him the prestigious Magician of the Year award.
David Copperfield and Saw of Death. Many magicians follow in the footsteps of David Copperfield and continue to try to repeat this trick at their performances in Las Vegas. After all, this trick is the most famous in the history of magic and illusion. Copperfield led the audience to believe that he had indeed been sawn in two. In spite of a large number of various versions of this trick, in which illusionists saw their assistants in various ways, to this day no one has succeeded in repeating this trick exactly as Copperfield originally did.
The postmentalism of Alvo Stockmann is the future of written prophecies. This is a fast-paced type of magic trick in which participants can write their predictions on a postcard, include an address, stamp, and send to a friend. Predictions can contain information about results football matches or any other questions that may be of interest to the addressee, and the answer, to his amazement, will already come to him by mail.
Criss Angel walks on water. The popularity of Criss Angel's shows like "The Mind Trick", "Believe It" and "The Phenomenon" has reached the peak of its fame precisely because of his trick with walking on water. After this trick, they began to consider him almost a black magician.
"Turning five $1 bills into five $100 bills." And David Blaine again and again amaze people from all over the world with magic tricks in his TV epic. So, one of his best tricks is considered to be the transformation of one-dollar bills into hundred-dollar bills, which he then distributes in the Ninth Ward of New Orleans after Hurricane Katrina swept there.
"Passing through the Great Chinese wall". David Copperfield has demonstrated a great many amazing illusions, including the ability to walk through the Great Wall of China. When this trick was performed, video technology was not as technically advanced, so it took Copperfield time to create and plan this trick. In this performance, he relied on his wits, speed and originality, and, ultimately, this unique trick brought Copperfield legendary fame.
“Removal of front teeth of participants”. David Blaine in again demonstrates his incredible abilities in front of passers-by. This time, moving from one person to another, he “pulled out” everyone's teeth from their mouths right in front of the camera. There has been a lot of controversy over this video, but do not forget that David Blaine is a certified specialist in the field of street magic and magical performances.
"Metamorphoses". The ability to transform into anything else is one of the illusionist's most outstanding talents. So, the trick of turning an ordinary guy into a pretty assistant and back again just drives the audience crazy. This is one of the best tricks of modern illusionists, which requires remarkable ingenuity and agility from the performer in order for the trick to work properly.
"Trucking" The illusionist Penn managed to impress people with his trick with a truck tractor, which literally drove over him without causing any harm to the magician.
"Levitation" by Chriss Angel. Despite the fact that David Copperfield is already successfully doing tricks with levitation, magic tricks Crissa Angela are incredible and convincing in that they were performed right on the street among the audience. Although someone even thought that Criss really hovered in the air, the author himself recognized his trick as an ordinary trick.\
Hans and Helga Moretti - "Shooting from a crossbow in the head." Such an impressive trick can lead to death, but the Moretti couple is not in vain recognized as one of the best couples of illusionists in Germany. Every time a blindfolded Hans aims a throwing weapon at his wife's head, the audience definitely experiences great excitement.
"Catching a Bullet with Your Teeth" Penn and Teller perform a trick of catching lead projectiles fired from revolvers at each other. Such bullets are often also marked by spectators, who then identify them. This trick is recognized by experts as legal.
Thomas Blackthorne swallowing a perforator drill. There are many magicians who love to swallow swords, but nothing compares to swallowing the drill of a working concrete breaker. The audience was shocked by this action during a show on German television.
“death number on the rollercoaster." Lance Barton is known for his many stunts and is also the creator of the longest running magic show. Already at the age of five, Lance began to show tricks and to this day continues to amaze the world with his original tricks.
"Papirosa" by Derren Brown. Derren Brown is a respected mentalist and psychological illusionist. He has an outstanding memory, ability to hypnosis, and can demonstrate such psychic abilities like psychokinesis and clairvoyance.
