AS has been stated each trick or illusion should have an appropriate word accompaniment or, as it is the technical term--the "patter."
This patter or monologue should be prepared and re- hearsed with great care, as it is in truth the very life of your act.
Many tricks without their verbal accompaniment would be rather flat and uninteresting.
Words should be used to explain, or embellish every ac- tion, and each action or trick should be led up to by intro- ductory phrases. For instance, suppose you were to do the "coin trick," producing money from the air, etc., you should use some such patter as this: "Ladies and gentle- men, I will show you how very easy it is to secure money if you only know how; why the very air is full of it; all you have to do is to understand the proper way to reach for it. Ah! Just as easy as can be and so much better than
working for it,” etc..
Again the monologue is a means of diverting the attention of your audience and is your salvation in case of the mis- hap or failure of your trick. A bright witty remark will turn your failure into a success; where you to remain quiet the failure would be apparent.
A well chosen monologue, has made many a poor or in- different magic act seem good, and contra, I have seen many an otherwise clever performer ruin a good act be- cause of his failure to have a properly prepared mono- logue or patter for his tricks.
Well chosen remarks, add a finesse to your work, give ad- ditional charm to your performance, and keep your audi- ence in good humor and in closer touch or sympathy with you.
Humorous remarks that have no "sting" in them are al- ways a great aid in working a trick, but do not make the mistake that belittling, insulting or hurting the feelings of any of your auditors, in humor. Avoid personalities at all times in do not forget that there are very few people who will not resent being made a fool of.
Another point is, always keep before you this admonition, never act or speak in a manner that can be construed as conceited.
Study to keep your temper under any and all circum- stances, remember he who loses his temper is himself lost.
Self possession, a few quiet words will do more towards disarming and disconcerting the "smart Alec" in your audience, than all the angry words you might hurl at his head.
Remember too that while you keep your temper you have your audience with you, but the moment you lose it, they become antagonistic.
A good monologue is really entertained in itself and should be constantly polished and improved upon. Do not make the mistake, though, of talking too much. Rather do a little talking with your tricks and that direct to the point, and to do a few tricks with a monologue. Decide which you are going to be a monologist or a magician.
Your patter should of course always be pertinent to your tricks; do not try to tell a funny story that has no allusion to, or does not lead up to the trick in hand.
You can readily see the importance of your language, and if it is not within your capabilities to do so yourself, it is advisable to have someone who is proficient write you a monologue to introduce and carry out your tricks.
CHAPTER IX.
MUSIC.MUSIC has at all times been a pleasing adjunct to all kinds of entertainments, and it is one of magic's most useful handmaidens.
In the earliest days, when in the ancient temples of Egypt, Greece, and Rome, Magic was part of the religious rites, music was an accompaniment; when instruments were not used, mystical chance were sung to arouse awe, reverence, and stir the emotions of the people.
In more recent times the Hindu fakirs, and the Wonder Workers of the East use the music of a shrill pipe and sort of drum to accompany their exhibitions; and this harrow- ing refrain has its proper effect to divert the attention of and work upon the feelings of the spectators, adding to the mysticism of the performance.
Than music, there is nothing that can so control every emotion that stirs the human heart or brain, and in its proper expression can be conveyed almost every human
feeling.
It is not strange then that magicians of all ages have called upon the sister art to aid in giving a finished setting to their performances.
The successful magician gives as much time and attention to the musical accompaniment to his tricks as he does to any other part of his program.
He realizes that its aid is invaluable, not only to add vari- ety to his act, but as a means of graceful aid in the expres- sion of his tricks, as a means of diverting the attention of his audience, and as a pleasing finish to his performance. Music is a great aid to your deportment and adds much to the dramatic effect. Choose with care your musical setting and have the proper piece to go with each trick or each group of tricks. A bright two-step or waltz, for instance, played while you are doing manipulations with coins or cards, an intermezzo or slow graceful air while you are doing some illusion, etc. will heighten the effect of your work.
Always use the same piece of music or one of the same tempo with each set of tricks, and you will intuitively get to working in perfect time with the music, and your de- portment, patter and musical setting will all be in perfect harmony that will give such finish to your work as will at once stamp you as an artist.
During all breaks or intermissions a bright and lively air should be played forte, that is, loud, but during your pat-
ter and manipulations the music should always be very soft and suggestive, not loud enough to interfere with your audience hearing and appreciating every word that you speak.
Many magicians do only such tricks as can be done with- out the patter and use only a musical accompaniment for their work, such as those who work in the character of the Chinese, Japanese, and Grotesque or Clowns.
Of course all such "dumb acts,"--so called because no word is spoken--require artistic excellence and a command of pantomimic ability, as things must be suggested and at- tention diverted simply by a play of the facial features, gestures and the musical setting.