Sleight of Hand Magic
Sleight of hand tricks Made Easy
Sleight of hand magic card tricks are not a separate branch of magic, but rather one of the means used by a magician to produce an effect. It can be contrasted with the flourish, where the magician intentionally displays great Sleight of hand tricks using only magic trick cards but with much skill, such as the ability to cut cards one-handed, which is akin to juggling. Advanced sleight of hand tricks requires months or years of practice before it can be performed proficiently in front of spectators. Sleight of hand tricks mostly employed in close-up magic, but it can also be used in stage magic. There are hundreds of different sleights at the performer’s disposal, but they can generally be classified into groups such as switches, changes, and others.
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Magic Tricks or Super Powers..?
There are several stories about magicians using sleight of hand tricks in real life, such as when American illusionist David Copperfield said he used sleight of hand tricks to fool a mugger into thinking he had nothing in his pockets while carrying a cellphone, passport and wallet
Sleight of hand tricks are often used in close-up magic, performed with the audience close to the magician, usually within three or four metres, possibly in physical contact. It often makes use of everyday items as props, such as cards and coins. The guiding principle of sleight-of-hand tricks, articulated by legendary close-up magician Dai Vernon, is “be natural.” A well-performed sleight looks like an ordinary, natural and completely innocent gesture, change in hand-position or body posture”.
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The hand is quicker than the eye
It is commonly suggested that sleight of hand tricks work because “the hand is quicker than the eye” but this is usually not the case. In addition to manual dexterity, sleight of hand depends on the use of psychology, timing, misdirection, and natural choreography in accomplishing a magical effect. Misdirection is perhaps the most important component of the art of sleight of hand trick. The magician choreographs his actions so that all spectators are likely to look where he or she wants them to. More importantly, they do not look where the performer does not wish them to look. Two types of misdirection are timing and movement. Timing is simple: by allowing a small amount of time to pass after an action, events are skewed in the viewer’s mind. Movement is a little more complicated. A phrase often used is “A larger action covers a smaller action.” Care must be taken however to not make the larger action so big that it becomes suspect.