Técnicas para evaluar los impactos ambientales

Effect:

Three business cards are shown. On two of the blank sides of the business cards smiley faces are drawn, on the final blank side a skull and cross bones is drawn.

The performer explains that the smiley faces represent safety and the skull and cross bones represents a poison or danger.

The performer explains that it is his task to avoid the skull and cross bones card. The three cards are mixed and spread on the table. The performer then raises his hand above the spread cards and selects two for himself. They are turned over revealing the safe smiley face cards.

He then explains that it is now the turn of the spectator to avoid the dangerous skull and cross bones card.

He asks the spectator, while holding the two smiley faces, to recall a time in which they felt happy and safe. He then asks the

spectator to hold the skull and cross bones card and to recall a time in which they felt in danger or unhappy.

The three cards are mixed face down, no-one knowing which card is which. Another spectator is asked to push one of the three cards forward.

The spectator is asked the concentrate on the card and to decide whether it is safe or the card representing danger. The spectator answers:

“Safe.”

The card is turned over and it is indeed the smiley faced safe card. Another spectator pushes one of the remaining two cards forward and again the spectator is asked to concentrate on the card making their decision between safety and danger. The spectator replies:

“Danger.”

The card is pushed forward. The final card is turned over revealing the final smiley face. Finally the remaining card is turned over revealing the dangerous skull and cross bones. Thus bringing the effect to a viable conclusion.

Method;

This effect makes a neat combination of both a classic and simple principle in Mentalism and a psychological forcing procedure revolving around the notion of anchoring the emotions of the spectator.

The opening phase has nothing more to it than simply marking the back of the danger skull and cross bones card. I do this by simply making a nail nick on one of the edges of the card which is visible to the performer but will remain invisible to the spectators. I bring out three business cards and on the face of two of the cards draw smiley faces. I then draw a skull and cross bones on the final card.

As I do so, I make the nail nick on the left short end of the card. I then turn my back, have the cards mixed and spread on the table top.

I turn back to face the audience and look for the marked one of the three business cards lying drawing side down on the table top. I then raise my hand above each of the cards. I appear to

concentrate for a moment or two and then select the two business cards with no marks on them.

I reveal I am “safe” in my selections. I now explain that it is the turn of the spectator to dabble with the poison gamble. This is where the real fun begins. We need to anchor the emotions of both safety and fear. I often then ask the spectator to think of a happy memory for safety and an unhappy memory for fear. Since the emotions of safety and fear are often hard to recall vividly in the spectators mind.

I begin by asking the spectator to recall a time in which they felt happy or safe. This is where the first anchor will take place. Let us now look at this anchor in more detail.

Let us first explain exactly what the notion of an anchor is. The only type of anchor which we need to concern ourselves with in this performance is a visual and auditory anchor.

I ask the spectator to recall vividly a time in which they felt happy. I then hold the smiley face card up in my left hand leaning toward the left. As I ask the spectator think of their happy memory I also place my right hand on my chin. I often appear to scratch my face with my first finger. I then, as I say the following, allow my hand to move sharply away from my face toward the table.

I display the card in my right hand and instead of raising my left hand to my chin instead rest it on my left arm. I then repeat the hand moving away from the face sharply to the table as I say; “So that's the unhappy memory.”

Now let us look at the way in which we will use these anchors. The cards are mixed on the table top. I keep track of the marked

business card and make a mental note of its position. I then ask another spectator to push any of the three cards forward. If it is the marked “danger” card I will perform the same actions as I did when anchoring the dangerous or unhappy memory earlier. If it is the smiley face card I will do the same actions as I did when anchoring happy or safe memory earlier.

Obviously if the danger card is the first selected there is only the need to anchor the unhappy memory then simply reveal the other two safe cards.

If the danger card is last again theatrically the effect is strong. I simply anchor the first two cards using the happy memory anchors, revealing the danger card as the finale.

If the danger card is the second card selected I then reveal the happy smiley face card revealing the danger card as the finale.

Notes:

This is a fun effect to perform. Let me make some comments about the way in which it is needed to have the card selected. You must make it clear that the spectator is to think about the card after it has been selected. If they make a predetermined decision the anchors will not work. I also make the spectator look me flatly in the eyes as they make their mental decision.

Another element can be brought into play with this effect. Many years ago, Paul Wilson pointed out to me that one of the strongest forms of misdirection was to look someone in the face and raise your eyebrows. This sounds weird but it really does work. I

incorporate this into the happy anchor. I also use the idea of voice stressing. I state things in a similar tone when the happy cards have been selected, as I also state things in a similar tone when the unhappy card has been selected, attempting to make my voice sound as it did when anchoring in the first place.

This is an effect I have used exclusively for some time. I have performed it regularly for the last two years and have had very pleasing results. I am sure if the reader takes this to his audience he too will enjoy a similar success.

I am sure the astute corporate performer could easily replace the idea of safety and danger images on the cards to “Product X” and the product you are booked to promote, allowing for a

presentation with the spectator always choosing the correct product, with instant first impressions.

Obviously the markings can be replaced with any of your existing marking methods. I personally prefer the use of the nail nick but another method I used for a while was simply the Lee Earle and Larry Becker method of replacing numbers on the face of the business card allowing each card to be numbered. I simply number the danger card differently to the other two cards in use.

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