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 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 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 9: Always remember that a plea of justification is, ordinarily, an acknowledgement of error and, consequently, demands every possible reparation.
Read MoreRule 3: Avoid complexity of procedure, and never tax either the patience or the memory of an audience.
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