Grimoire for the Apprentice Wizard

Lesson 4. Performance

& Showmanship

Many rituals are most successful if they follow a dra-

matic form, as in a play, where there is a build-up of

intent, direction, and energy, followed by a climax—

the release of the energy—and the final dénouement.

Compose your ritual or performance as you would a

play. Use it to tell a story, with one scene leading into

the next, until the point has been made and the pur-

pose fulfilled. The following are just a few of the many

tips and tricks of the showman’s trade that can be

applied to the craft of theatrical ritual. By studying the

stagecraft of performance magicians and actors, we

can be inspired to move our rituals higher into the

realms of “real magick.”

Plan your ritual as a performance,

and your performance as a ritual.

Patter & Pacing: Patter is what conjurers call the

stuff they say while they are performing their illusions.

This can be just a simple description of what you are

doing as you go along (or, at least, what you want the

audience to think you are doing!). A comedy routine

can be a lot of fun, especially if you can work the

illusions in as punch lines. Bizarre magik (see below)

uses special effects to illustrate a story, just as in the

movies. This is the magick used by Wizards from time

immemorial—so learn to tell a good story to go

with your performance!

An oft-repeated axiom in theatre (es-

pecially comedy) is that “timing is every-

thing!” Pace your perfor-

mance. Don’t rush your

patter; speak your lines

clearly and distinctly—

projecting them loudly

enough so that every-

one can hear every

word. Pause between

sentences and para-

graphs, to give them a

chance to sink in—espe-

cially if other people are

expected to respond in

any way (such as by

laughing). Take deep

breaths, and lower the pitch of

your voice the way radio announcers do

to give a greater resonance and power.

Motions: When you are learning to perform illu-

sions, you should practice and rehearse them over

and over in front of a mirror until you can do them

smoothly, without dropping anything or stumbling

over what comes next. First get the movements down

perfectly, and then add your patter or spoken lines.

Don’t show an illusion to anyone else until you have

perfected it to your own satisfaction in a mirror!

Staging: Some illusions are best performed with a

table in front of you—such as at a dinner table. Many

of these require a tablecloth. Others are better per-

formed standing about 10’ in front of your audience.

These should always be done with a dark background,

such as dark draperies—especially those requiring the

use of invisible threads. Lighting should not be overly

bright for thread illusions; several candles make an

ideal light source and also contribute to a mysteri-

ously “magical” atmosphere.

Costuming: The theatrical aspect of performance

magic and illusion helps transport not only the practi-

tioner but also the observer into other realms—a simple

mask and cloak transforms “good ol’ Joe” into the

very image of a magickal and powerful being! Various

illusionists have created many distinctive costumes

for themselves, from traditional Wizard’s robes and

tabards to tuxedos and top hats. A costume with lots

of pockets and loose pieces (long sleeves, cape, tab-

ard, jacket, hat, etc.) can provide places to hide vari-

ous props and gimmicks. Grey Council member Jeff

“Magnus” McBride, who contributed much of the

material for this Class, is a world-famous illusionist

who is particularly known for his wonderful use of

masks (shown here). So when you are putting

together a performance routine of illusions

and conjuring, consider your costuming along

with all the rest, and come up with

something appropriately

magical and mysterious.

Props: “Bizarre magik

is often presented as if it

is ‘real.’ A good example

might be to imagine all

of the magic that appears

in the Harry Potter novels

is real. The props often

look the part. This means

that a prop presented as

an ancient grimoire looks

like an ancient grimoire,

and not like something pur-

chased at the local stationery store.”

(—Dave Birtwell)

If you’re using handkerchiefs, get something

with an arcane design on it. If using a bottle,

prepare a mysterious label for it. For boxes or books,

add raised designs made of epoxy putty and painted—

you can even add fake eyes and other trim from an arts

& crafts store. Be imaginative, and get creative!

240 Grimoire for the Apprentice Wizard

Corrected pages 3rd printing.2.p65 33 6/10/2004, 4:02 PM