phenomena of such rituals, and thus provide the gen-
eral framework for a general theory of origins.^1
Magic and special effects have been used in en-
hancing the theater of ritual since the first fire was
ignited. The wonder and awe generated by the early
shaman lifted the participants in the ritual to a higher
plane of consciousness. In ritual theater, we seek to
move our participants into these trance states some-
times referred to as altered states of consciousness or
shamanic states of consciousness.^2 The ritualized
magic effects of the Hindu Basket, the East Indian
Rope Trick, or the Greek Chorus are allegorical jour-
neys to “otherworlds” where the performer undergoes
a symbolic death and rebirth; themes that are ever-
present in world mythologies. The ritual theater par-
ticipants not only hear the storyteller weave the tale,
but also witness the drama as it is acted out upon the
stage that is the field of the ritual working.^3Is it real Magic or Illusion...or both?
A Shaman summons his spirit allies and “escapes”
his bonds during a healing seance. A statue of a god-
dess “speaks” to a priestess during an oracular divi-
nation ritual. A priest runs a sword through his body,
“proving” he is immortal and also the most powerful
magician of the tribe. These tricks of the trade are
among the most common achievements of the
Shaman’s art.^4
As a performance magician who is also involved
with creating ritual theater experiences, I am often asked
if I believe that what is happening at these reported
events is “real” magic. Are these “real” powers or trick-
ery? To debate this can be exhausting and is to miss
the point. History is full of accounts of the miracu-
lous. To the believer no answer is necessary; to the
skeptic, none is acceptable. The magical displays of
power all work to some degree, regardless if the Sha-
man or healer is using trickery or not. Theatrically,
these magical skills are used as a way to enhance the
energy raised for the ritual intention.“Shamanistic illusionism, with its ventriloquism
and escape acts, seeks to break the surface of real-
ity, as it were, to cause the appearance of a super-
reality that is ‘more real’ than the ordinary. The
principle of the ‘more real’ as the virtual ground of
reality links spectacular and fraudulent trickery
with demonstrations of the body’s ‘supernatural’
physical abilities in the trance state.”^5As ritualists we seek to create a magickal space
between the worlds, far from the mundane world—to
use Kirby’s phrase, “more real than real,” to create a
heightened sense of magickal possibility in our ritual
and our lives. Often true transcendence is far too subtle
to be easily perceived by a large group. It can be said
that these created illusions are a translation of what
is actually happening. In constructing effective ritual
theater experiences, even knowledge of elementary
magic effects and sleight of hand skills can bring about
wondrous results.
____________________
(1) Kirby, E.T., “The Shamanistic Origins of Popular Entertain-
ments,” The Drama Review, Vol. 18, No. 1 (March 1974)
(2) Eliade, M., Shamanism: Archaic Techniques of Ecstasy,
Bolligen Series, Princton U.P. 1964
(3) Taylor, R., The Death and Resurrection Show, Blonde 1985
(4) Boragas,W., “The Chuckchee,” American Museum of Natu-
ral History Memoirs, XI, JE VII 1904, p.446)
(5) Kirby, E.T., op cit.Lesson 3. Magical Powders
& PotionsFaerie Lights and Glowing Water (Magnus)
Effect: Magical glowing light is emitted from the ritual
tools of the magic workers. Wondrous glowing
colors fill the ritual circle.
(From a manuscript by Hero of Alexandria) Arcanum: Hidden l.e.d. (light-emitting diode) lights“To cut off ones head, and to laie it in a platter, which the
jugglers call the decollation of John Baptist.”
—Reginald Scot, The Discoverie of Witchcraft (1584)In ancient Greece, the doors
of the Oracle’s temple opened
automatically as
the altar fire
blazed up,
by means
of secret
hydraulics.238 Grimoire for the Apprentice Wizard
Corrected pages 3rd printing.2.p65 32 6/10/2004, 4:02 PM