Volume Three – Stage Mentalism

Formal performance conditions: a stage, a schedule, and the obligation to entertain an audience of paying customers. What you need for this type of situation is material that will allow you to connect with a large group; routines that are efficiently structured for maximum impact so that they’ll generate interest, maintain a robust energy level, and hold the spectators’ attention from start to finish. Goal Mine (Previously Unrevealed) – This is an ideal opener: a routine of mental persuasion that serves to establish the performer’s credentials, gets several audience members involved, has a climax that virtually guarantees laughter and applause – and all of the props can fit in your breast pocket.

• Tossed – Out Tech (Previously Unrevealed) – One of the most valuable techniques of mentalism has also been one of the least understood – until now. This section covers an effect that has been a feature item in Max Maven’s professional repertoire for over two decades. This is not a basic “bare bones” description; it is an in – depth analysis; knowledge developed through years of study, and honed during thousands of performances. The information that is disclosed here constitutes a virtual “post – graduate course” in mentalism.
• Khan Artist (Previously Unrevealed) – The performer forecasts how members of the audience will rearrange a set of symbols. The props are so uncomplicated, so innocent in appearance….it’s no wonder that this deceptively simple effect has hoodwinked some of the keenest minds in the business.
• Contimental – Could there be more direct exhibition of mindreading? Consider this: A spectator thinks of an international location; the mentalist reveals it. The end. There’s no advance work, nothing is written down, and there are no props required. You can even perform this over the telephone
• Psign – A prediction, quick and to the point. A large board is displayed, back – out. A spectator selects one of eight different designs, which proves to be the very one printed on the front of the board. The participant can stay seated in the audience – leaving the performer alone on stage at the finish, to accept all of the applause.

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