The conclusion to a six month long exploration of a text from 1911.
Read More24: Never present in public any performance which has not been most perfectly rehearsed, first in detail and, finally, as a whole.
Read MoreRule 23: Never attempt, in public, anything that cannot be performed with the utmost ease, in private.
Read More22: No magician should ever present, in public, any magical feat in which the procedure cannot be, or has not been adapted to his own personal characteristics and abilities.
Read More21: When, in a combination of the two arts, the primary requirements of Drama have been satisfied, all subsidiary details of procedure should be dictated by the normal principles of Art in Magic.
Read More20: When Magic and Drama are combined in one presentation, the stage-procedure should, primarily, be governed by the dramatic requirements of the case, rather than by the normal principles of Art in Magic.
Read More18: In each presentation, the procedure should lead up to a culminating point of interest; at which point the magical effect should be produced, and after which nothing magically interesting should occur.
Read More17: In every effect of pure transition, the beginning and end of the process involved should be distinctly indicated by some coincident occurrence.
Read More16: When an effect of transition ends with a sudden revelation or surprise, the course of transition should usually be punctuated by actions or sounds leading up to and accentuating the final impression.
Read MoreRule 15: When presenting an effect of pure transition, the first and most important essential is the avoidance of every possible cause of distraction.
Read MoreRule 14: Unless good reason can be shown, never explain, UPON THE STAGE, precisely what you are about to accomplish.
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