Resource Information compiled by Steve Zigmont of MagicFX
I do not take
any credit whatsoever for compiling this information. This information
was compiled by a great friend and illusionist Steve Zigmont. He has
always been a wealth of information to me and others.
I hope you
find this information useful as you decide what to buy and from whom
Proprietary designs and Intellectual Property imformation for new or used illusions
The very nature of a great illusion is to wonder how it's done.
Magic is more than the
sum of all the parts, it's another step beyond the equal sum. "Zigmont"
In my 20 years of buying, selling, building, producing, designing and performing Illusions, as well as working with over 100 different illusions, I have found used illusions to be the most cost effective way of obtaining illusions needed for a particular project. I always prefer to buy new cutting edge illusions whenever I have the opportunity from an authorized builder.
Not only do you get the most for your money buying the real proprietary design, you also preserve the craft by not flooding the market with cheap knock off imitations. Most times knock-offs are just a shell of what the original looks like and stops there. The knock offs do not have the creator's original ideas nor does it have the design that was worked out with some of the best minds in magic brainstorming.
A new or used illusion manufacturer by a major illusion builder has a team of trained, sub contractors that has assembled parts into a working illusion. The builder assembles all the parts into a functional prop. The knock offs for the most part don't have the real secrets, and are a disappointment in craftsmanship, is not the real deal. The materials used by the major builders and the construction techniques will insure that the illusion will perform as designed and stand up under heavy use for touring.
When you buy an illusion from a authorize builder with permission from the inventor you allow the inventor to receive a fee and continue his work of providing new concepts. You also gain the benefit from a major builder with all the technology that the builder has obtained from years of building for the top names and minds in magic. You can buy all the parts to a racecar, but putting it together and turning it into a racing machine takes an experienced professional team.
Do not be fooled by a knock-off
illusion that may not have been built to work correctly. A savings
of 3000.00 on a knock-off illusion can be a waste of the entire sum
spent when it fails to achieve the deception that the original has
obtained. Instead of magic being refined magic is cheapened. A knock-off
illusion can be as bad as the masked magician exposing.
Illusions listed below been prepared by Zigmont and have royalties' fees and are Intellectual Property;
Walking Through a Fan
Through a Jet Engine Turbine
Time and Space (rotating
bump in the night)
Mini Kub Zag
Walking through a Mirror
The Chair Levitation
The Torch Box(sword type
Bits N' Pieces
Zaney Blaney Ladder Levitation
Water Fountain Levitation
Girl in the Aerial Chamber
Helicopter Appearance (two
Steel Plate as performed
The Midair Appearance on
Back Crack as performed
Binky's Revenge as performed
The The Drill Impalement
as performed by Melinda
Impossible Sawing (no boxes)
360 Turn on a Levitation
The Cutting Edge
The Bo Staff Illusion
"The plain & simple fact of "oh that's cool I want to do that" cannot be stopped. Only a true artist will stand alone in his/her performance & style. Only ethical performers will pay rights & royalties to performing someone's concepts. Other performers will just rip off concepts..." Ryan C. Reed, Illusion Entertainment
Don't forget the inventors that gave us our classics;
Parrot To Girl Cage; Tutacko/
Zigmont - Bill Smith
You must fool the minds of the spectators, not the eyes. As the magician performs, such impossible feats, the intellect of the viewer just stops. The audience just suspends it's disbelief, and for that moment in the theater they simply believe in magic.
A stage magic show has all the elements of theater but use's a structure of principals found only through studying the art of magic. Some of the principals are psychology of perception, psychological deception, mental misdirection, physical misdirection, controlling attention, premature consummation, pointing, creative flow, dissimulation, simulation, suggestion, repetition, and timing. As a matter of fact, magic embodies both art and science. By using methods of deception to create in the mind of the spectator, a false understanding of what is happening before him, a mistaken analysis of the situation, by the non-thinking part of your mind (sub conscious), is created. This is a misperception outside the brain's actives of known reality. The controlling of stimuli of the conscious, along with visual special effects, stirs the imagination and pleases the mind. Seeing the impossible becomes possible.
Magic is to be classed
among the arts, not of course, among the mechanical arts, but the
There is kind of art which imitates things that is imagined by the artist.
There is kind of art which imitates things that actually exist.
There is also a third kind that which imitates neither things imagined by the artist, nor things that exist: but merely the imitation of others. These three varieties may, respectively, be described as high art, normal art, and false art.
As in painting so it is in magic, to produce a magical effect, of original conception is a work of high art. It imitates the exercise of magical powers, by means and manner conceived by the artist who produce it.
To reproduce a magical
effect, exactly as already conceived and executed by an artist in
magic, is false art. It merely imitates the original imitation. In
actual value, Is just as worthless as a painting copied from another
Basically speaking magic is at four levels. The first might be called a trickster, that all he does, a trick. I fooled you he might say. Your uncle at a backyard barbecue doing a card trick.
Then there is a conjurer, a conjurer not only fools people, he fools them completely. He creates a perfect mystery. A conjurer adds no poetry no sense of wonder. He may buy magic at the local magic shop.
The next level, a magician of the first order, he adds poetry to the mystery. He works with ordinary looking objects. His effects are very beautiful in style. He knows the reason why each effect he has produced has been successful.
The final category is of a very high caliber magician. He deceives in an entertaining way. Amazes through his personality, showmanship and technique. That's when the handling of the illusions produce a thrill of genuine surprise in all who behold it. He never wasting a single movement on stage.
A master magician is he who can produce original effects and understand how to present them in an original and convincing manner. His mastery was due to an innate sense of the principles that he studied. He has made the difficult moves look easy, then the easy became beautiful and the beautiful looks like real magic.
When we proceed to define normal art in magic we find the task somewhat more difficult. The work done by the normal artist in magic will fall within one or the other of three categories.
1) The use of familiar methods, in a familiar combination, to produce a familiar effect, but with some originality in presentation.
2) The use of familiar methods, in novel form of combination, to produce a familiar effect, the manner of presentation displaying some originality.
3)The use of familiar methods, in any form of combination, to produce a novel effect, the presentation of which must , necessarily possess more or less originality.
Everything which is not contained in those three categories must be something which is either greater or less than normal art in magic.
The true status of magic, as an art, can only be ascertained by means of evidence derived from the work of accredited normal artist. The more genuine our normal art, as a whole, can be made to approach the status of high art, the greater will the elevation attained by magic. The more nearly our normal art approximates to false art, the lower must the whole art of magic sinks. Illusionist and general practitioners alike, must give proof of their artistic qualifications. This they can only do by realizing that magic is essentially an intellectual pursuit and treating it as a true art, not merely as an embodiment of more or less intelligent skill.
Special Thanks to Steve
Zigmont for taking the time over so many years to search out information
and be able pass it on to those serious about the Art of Magic and