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bmat wrote:I'm not an escapeologist! but I have friends that are or were, Dean Gunnerson, James Randi most notably and have spoken with others it is a field that fascinates me but not one that I would persue. The thumb cuffs and other thumb ties are the extent of what I do, in this regard. I do have a degree in Sociology and I am a student of human observation.

With that said and my lack of qualifications honestly noted I differ with one attitude on this string, I honestly don't think an escapeologist has to go out of his/her way to prove that there are no gimmicks involved. When you give somebody a straight jacket and they look it over that is really all that is needed. Ask somebody to put handcuffs on you, they hold those cuffs and even if there is a gimmick most will believe they are not. Have spectators tie you up in chains or ropes. There is nothing to gimmick as far as they are concerned. Most people think of Houdini when they see an escape artist and most believe, rightly or wrongly that everything he did was real.

I do believe that when a magician attempts to make an escape then he absolutly does have to prove everything is above board. I don't classify the sub trunk as an escape, it is an illusion like the buzz saw or anything else. And I believe people understand the difference between a magician and an escape artist. I'm not sure I am making myself clear I can only hope you understand an appreciate my view.

I think what you are addressing here is the issue of "Over Sell" I see it all the time with those that THINK they are a "Mentalist"

Magicians need to prove everything is above board or impossible in the "real world" no issue is made of it.

I have the terrible habit of leaving things lay about after the show while I mingle with folks... well, there's a reason for this... they can pick up the blindfold and check out the dry erase board, and EVERYTHING else in that I have nothing to hide... this is where I find the "convincer" to be more practical and the thing they will talk about more... let's face it, who (aside from magic buff) would know what a real "regulation" straight jacket really looks like vs. one that's gaffed? They don't even use them in hospitals any more.

The two primary modes of gaffing such a device are virtually non-detectable anyway... unless you have great eyes and know what you are looking for. Same with a Milk Can or even the Water Cell...

People don't know what to look for so inspection is passe and typically over done. There are some exceptions to this...

The Abbott Canvas Covered Trunk works best if you do it as Percy wrote it... get a couple of guys from the audience to assemble the thing and strap you in... in that you had two balooka's actually put the thing together, who can testify that there is absolutely no trap door or any such device under oath (they won't find a thing) the escape works! There is no getting around this... otherwise you may as well have an Owen "Classic Sub Trunk" and stop fooling yourself.

Egotistically I have to say the other effect that requires a degree of audience inspection (construction) is my own Spirit Cabinet... I have two guys from the audience help un-pack it and assemble it... they are not in on a thing! Yet, you will see a real human being appear and vanish in seconds, from within the unit. Even when we take it a part at the end of the bit... NOTHING can be found!... and no, it's not a base, a trap system, mirrors, or back loader tube or any of that traditional stuff... I will say that I stumped the guy that sold me the original prop in that I didn't use it "as directed"... but again, a different story...

Inspection is an issue you need to deal with cautiously!

Yes, absolutly! On the odd time I've used and ID I usually have somebody hold the deck of cards the entire time. When I go to make the revelation I take the cards back open the box and voila. The spectator never questions the cards, (not that I think they would anyway) but I once finished the effect and was walking to the next table and I heard my spectator say that "he saw another performer do something similiar but it had to do something with the cards, but this time I was holding the cards the whole time" That was quite some time ago and it was a lesson I had heard a lot but never really experienced, and its simple. Don't hand anything out to be examined, then they may actually examine it. Better to use subtle methods as you described. Of course in Stage magic its a little different but the examining is built in as the spectator is putting the equipment together.

Your Spirit cabinet has perked my interest but I really don't want to think to hard about it because in all honesty I have no desire to know how it is done. Sometimes it is nice to enjoy the mystery. But you do have me thinking.

This might be a little off topic, but I thought best to keep it here rather than waster a new thread - I am trying to get into ecsapism / rope tricks with rings etc. I am currently learning to pick padlocks and atm can quite quickly pick a Master 3 lock with a paperclip, but it takes around 30 - 40 seconds, and some spectators so far have said that its not magic if they see me use a paperclip - should I be p*****g this or hiding it in the box in which my hands are chained up in? (I know its a bit of a weird question but if you would rather email me or PM me I'd be greatful)

Regards,
Dan
aka Trev

I honestly don't know the answer to your question. I guess one question you want to ask is are you doing magic or escapism? I leave that for somebody with more experience in escapes to answer. Sorry.

Figo wrote:
1) I already know and have worked with a guy who does a mail bag escape and don't want to use his work
2) it is very hard to get height with a mail bag escape as it is usually done on the floor
3) I don't want to do a straight jacket escape for a finale coz every guy, his granny and his grannies yorkshire terrier is doing it.
so here are the stipulation for the escape
1) should be able to be done at height (eg on top of a ladder or similar)
2) should be impressive enough to be a finale
3) should be easily transportable by train

Hello Figo,

So, let's look at some of the things you talked about. Regarding the mail bag escape, simply make it yours. Think for yourself what you like about the mail bag and then embrace that. In my case, for example, I just totally love the mail bag escape. But like you, I didn't want to do just any old version, so, I came up with my own twist. In my case, I created a scenario based on the mail bags that traveled on the stage coaches in the 19th century American West. I love escape artistry and Illusionism too and I combine the two together. This is but an example of the kind of thing that you can do.

Secondly, you mentioned that the mail bag was typically done on the ground. So, change that. Simply figure out how to suspend it then do it.

And now then, the straight jacket. Well, just change the straight jacket idea to something else also, make it yours, your version with your flavor and style on it. My straight jacket had to be pink for that is my style. I'm silly that way. And more than that, instead of just escaping from it, figure out a theme of why you were put into it, why you need to escape, and make it a story and the audience will love it.

Any of these ideas I just mentioned could be worthy of a finale, of course, you need to find your own versions and these were just ideas. As for fitting the stuff on a train, all of this has gear that would fit into a sticker covered steamer trunk.

Good luck, Figo, and simply dream, that is all it takes. Just open your imagination to go beyond what you see and you'll come up with all kinds of truly wonderful ideas.

Can escape artistry be done as a full show? Of course. While few if any have done it, that does not mean it can't be done. All you need to do is to make a theme or show out of it. For example, in my own case, it's simply the damsel in distress, tossed from one crisis to the next, each slightly worse than before, but all telling a story with a common theme. If I can think of this, anybody can so go ahead and dream.

Love,

Amanda Angeli