DIY paper magic wand. Hakobyan Harutyun Hmayakovich

Many in childhood dream of becoming wizards or conjurers. After all, a miracle is not just an inexplicable phenomenon, but also a state of mind. So why not become a wizard at least for? The main attribute of any wizard is not only his hat and cloak, but also a magic wand. You can do it yourself.

For work, we need the following materials:

• sheet of black paper,
• fax paper tube
• glue,
• scissors,
• pen or pencil
• silver thread,
• cooking foil.

How to make a magic wand out of paper for a magician:

1. As always, to create simple crafts with children, we choose only improvised materials. If you don't have fax paper tubes, pick up something similar.

2. Cut out a rectangle of black paper along the length of the tube so that it can wrap the tube itself several times.

3. Paste it with black paper using a glue stick. In this case, this best option, since PVA glue on thin paper will give extra waviness.

4. At the tip of the tube, we wrap the paper inward if it protrudes.

5. We wrap our magic wand with a silver thread - it is used for embroidery by needlewomen. Can be found in sewing supplies stores.

6. From the culinary foil we cut out two circles of a slightly larger diameter than the tube, and two rectangles in several turns of the tube itself.

7. Thickly smear the tip of the stick with glue.

8. Glue the circle, closing the hole in the tube.

9. Fold the rectangle in half and glue it to the edge.

10. It turns out like this in the end.

11. The paper and cardboard magic wand is ready! It remains to read the spell correctly and with all my heart wish something good and bright!

When a magician suddenly has a cane in his hands. And most likely, you, like many others, were impressed by this focus. Today we are ready to reveal the secret of this famous magic trick. Everything is extremely simple. To learn how to do this trick, you will need sleight of hand and a magician's cane. The main secret lies in the design of the cane itself.

How the emerging cane works

The emerging cane is made according to the principle of a spiral. The metal plate is assembled in a spiral into a small device that fits in the palm of your hand. Equipped with a latch that prevents it from opening at the wrong time. When unfolded, it is a full-size metal cane. Durable quality material and attention to detail in the manufacture of props allow you to instantly unfold the canes.

Magician's cane in use

To fully master the trick, you will need a little practice and a magician's cane that appears. During the trick, the main task is to discreetly rearrange the latch that holds the device folded.

One deft hand movement and the astonished audience sees a real cane in your hand. The design turns out to be very simple and at first glance indistinguishable from a real cane. This trick is simple enough for even a beginner to master, but so spectacular that all professional illusionists include this in their program.

If you get creative, you can come up with many impressive tricks with a cane and other props. For example, a silk scarf. Buy a magician's cane and you will feel like a real magician.

Peculiarities

• The cane is made of durable stainless steel. Only high-quality processed material guarantees successful tricks and ease of use of props on stage;
• When unfolded, the cane is no different from a natural one;
• The trick with a cane can be done by both a beginner amateur and a professional artist.

Characteristics

• Material: stainless steel;
• Folded size: 6.3 x 2.3 cm;
• Unassembled length x 100 m.

Your child can make this magic wand for showing tricks on his own, only he needs a little help if he is still quite a baby. An older child, on the other hand, can make a magic wand himself, without asking the help of his parents. Such props for tricks are very simple, but at the same time, they will help the child feel like a real illusionist, conjurer and magician.

So, the first thing you, young friend, can do to replenish yours is to make a magic wand. It is done very simply. You will need thick paper, from which you must glue, 200x10 in size (length and diameter). This tube should consist of several layers so that you cannot accidentally crush it. Paint the magic wand blank black using gouache. You can decorate it with gold stars, or cover it with silver paper (thin foil).

Now you will need two, the diameter of which will not exceed the diameter of the magic wand. Buttons are needed with ears, for which you tie a thin elastic band. you can take one that is usually put on bundles of money. Or try to extract it from the usual fabric elastic band for leotards.

So, to one button, pass its second end through the tube, and tie it to the second button. At the same time, make sure that the elastic band is slightly stretched so that the buttons do not hang out by themselves. That's all. The magic wand is ready. Now let's see how it works.

How to do magic wand trick

with a magic wand, you have to make sure that the viewer does not see your manipulation of the rubber band. Take the magic wand right hand, imperceptibly hooking a button with an elastic band with your thumb. Now, when you slightly loosen your grip, the magic wand, to the amazement of the audience, will crawl up in your fist. And if you sharply open your fist, then it is simply up. It will be very lucky if you can then catch the falling stick with the same hand. If you are dexterous enough, the viewer will not notice either the rubber band or the button. Good luck with your performances, young wizard!

After checking that everything is in order, the artist can start demonstrating the trick. He goes to the first table, picks up the case and shows the audience a bottle (Fig. 17). Then the artist, having closed the bottle with a case, comes to the second table and, tightly clasping the case with his fingers, removes it together with the bottle. The audience sees that there is a glass of water under the case on the second table. When the magician does this a second time, he raises the case with the bottle on the first table and shows the audience a glass, and on the second table he raises only the case, and the audience sees the bottle (Fig. 18).

"MAGIC WAND

The so-called “magic” wand is an essential accessory for a magician. She came from old fairy tales - wizards in fairy tales often worked their "miracles" with the help of "magic" wands. The presence of a "magic" wand helps the artist in demonstrating tricks.
To somehow justify her appearance, the performer can show the following trick, which will convince the audience that the wand is really "magic".
The performer approaches the illusion table and takes a small stick lying on it. Outwardly, the wand looks ordinary, and, of course, none of the audience will believe that it is "magic". But suddenly the wand in the artist's hand crawled up. The audience is surprised: after all, the stick is literally torn from the performer's hand and rapidly flies into the air. Yes, it seems that the wand is really “magic”.

The main prop of this trick is a wand. Making it is quite easy. The stick should be wooden, about 20-25 long cm and diameter 1-1.5 cm(Fig. 19). In the middle of the stick, you need to drill a hole with a diameter of 0.5-0.7 cm. Then the stick should be covered with black ink or varnish of the same color. The ends of the stick should be painted with white paint to make it more beautiful. Then pick up two buttons of the same diameter as the stick. Buttons must certainly be with upekami.

In addition to the listed items, you will also need a piece of nipple gum, the length of which should be equal to the length of the stick.
The preparation of the trick is as follows: the elastic is pushed through the stick, buttons are attached to its ends, so that the elastic is slightly stretched (see Fig. 19). At the top, the button must be fastened tightly and carefully disguised.
When demonstrating the trick, the wand must be taken in the right hand and, holding it vertically, imperceptibly pull the elastic band by the bottom button about three-quarters of the length of the wand. The hand, of course, must be held so that the elastic band is not visible to the audience.
The button should be clamped with the thumb (fig. 20). During the demonstration of the trick, the artist should stand half-turned to the audience, trying not to turn his back on them, so as not to arouse distrust in himself.

To demonstrate the "magic" actions of the wand, which the performer holds before the start of the trick, as shown in Fig. 21, it is enough to release it slightly, and it will freely crawl up. If the palm is quickly unclenched, then the stick will rapidly fly up into the air (Fig. 22). This trick is recommended to be shown by the way, in order to justify the name of the wand - "magic".

SECOND OPTION OF THE "MAGIC" WAND

From different options for tricks with a "magic" wand, you can make a program for performing on the stage. We offer the second version of the "magic" wand, the focus of which can become an independent number of the program.
The performer takes a sheet of paper torn from an ordinary notebook from the illusion table and rolls a pound out of it (Fig. 23). Then the artist pretends that he, trying supposedly to be unnoticed by the audience, takes something out of his pocket and puts it in a pound. The audience, of course, notice this and do not believe the words of the artist when he says that the pound is completely empty. Spectators are asked to unfold the pound. The artist fulfills their request, holding one hand clenched into a fist. Now the audience sees an empty pound, and their suspicions fall on the clenched fist of the performer. Then the magician has to show what is hidden in the fist. Again, pretending that he shifted something from this hand to another, the performer shows the one that was clenched into a fist. There is nothing in the hand. The audience is completely intrigued. Finally, the artist reassures the audience by showing that he has nothing in the pound and in his hands.

After that, the performer rolls up the pound again. Holding it in his hand, he shows the audience that the pound is empty and he also has nothing in his hands. Then the artist takes his “magic” wand from the table, stirs it in an empty pound, and then gives the audience to inspect the wand. Spectators are convinced that the wand is the most ordinary, does not hide any secrets in itself, and returns it to the performer.
Now the magician takes out a small bright handkerchief from his pocket and puts it in the pounder, trying to push the handkerchief to the very bottom of the pounder with a stick. Having unfolded the pound, the performer shows that the handkerchief has disappeared without a trace. Having discarded the piece of paper, the artist again allows the audience to inspect his "magic" wand. And the handkerchief, mysteriously disappeared from the pound, suddenly appears in the performer's hand. Having shown it to the audience, the artist pushes it into his fist. Then he takes the wand from the audience, lightly touches it with his fist, in which the handkerchief is hidden, and a “miracle” happens: the performer opens his fist, and the audience sees an empty palm.

Secret, props and trick demonstration
The main prop of this trick is also the wand; its size is the same as the size of the stick in the previous trick, that is, 20-25 cm. But this stick must be conical, like a drum stick or a pointer. Such a wooden stick becomes “magic” because a metal tip or cylinder is put on its thickened end (we will agree to call this end of the stick the front end). Therein lies the secret of focus.
An ordinary tin sleeve can serve as a tip (Fig. 24). If a sleeve from a hunting cartridge is used, then the stick must be cylindrical. But it is best to make a conical stick and make a cone-shaped sleeve for it. It can be soldered from tin from ordinary tin can. The sleeve should fit snugly on the stick. When the stick and sleeve are ready, they must be painted black, and first the entire stick is painted over, and then the sleeve. When the paint dries, the tip can be put on a stick.

Now for the demonstration of focus. First, the performer plays the audience, and then takes left hand pound (bottom up), and in the right stick (see Fig. 24). The artist inserts the stick with the front end into the pound, showing the audience that it is empty. Turning the pounder upside down (Fig. 25), the performer squeezes it with the thumb and forefinger of the left hand.

"Having stirred" the wand in the pound, the magician puts it under the arm of his left hand. At the moment of stirring, the tip of the stick should be left in the pound. Now the performer needs to take a handkerchief, put it in a pounder and push the pointed side of the stick into the sleeve in the pounder (Fig. 26). After that, the sleeve should be put on the stick again in the same place, inside the pounder (see Fig. 26) and the stick should be put under the arm again (this is the most convenient and visible place). Now the bag is empty, it can be unfolded and shown to the audience. The sheet of paper from which the funnik was made can also be given to one of the spectators for inspection.

Next, the performer again takes the stick with his right hand, and with his left quietly removes the sleeve, leaving it in his left hand, and with his right hand puts the stick on the illusion table. After that, the artist calmly pulls a handkerchief out of the sleeve with his right hand, leaving it invisible in his left hand. Now he can go to the table for his "magic" wand, take it with his left hand and at that moment put on the wand the sleeve that was in his left hand. This must be done instantly and, of course, imperceptibly. Every movement of the artist must be justified, otherwise he will be exposed.
The number can be ended by showing the audience the handkerchief that has appeared. Then it should be put on the table, show the audience both hands, touching the palms in turn with a stick, and put the stick next to the handkerchief on the table.
You can demonstrate this focus and so. Having shown the audience a handkerchief, the artist puts it in his left hand (there is a cartridge case) and begins to push it into his fist with the index finger of his right hand (Fig. 27).

In reality, the handkerchief is pushed into the sleeve (Fig. 28). As soon as the handkerchief is completely hidden in it, the artist takes the “magic” wand from the table and inserts it into the fist with the front end. The sleeve will easily fit on it. Now the performer can safely unclench his fist and draw a stick across his empty palm, confirming the disappearance of the handkerchief (Fig. 29).

"MAGIC" ROPE

Among the magician's props on his table is an ordinary rope, which is often needed in household use. The performer comes to the table, takes this rope and shows it to the audience. “Ordinary rope,” the viewer thinks. And indeed, the artist confirms this by tying it in a knot, then folding it in half with a tourniquet (Fig. 30).

But since the rope appeared in the hands of a magician, then we must wait for a miracle. And the audience is closely watching what is happening, and the rope in the performer's hand suddenly stretches into a string and freezes in a vertical position (Fig. 31). Then the artist touches the middle of the segment of the unusual rope with his finger, and it turns into the letter "G" (see Fig. 31). As the performer touches this rope, she obediently writes out various figures.

Having made several figures, the rope takes on its former form. The artist finishes the demonstration of the trick and places the rope on the illusion table.

Secret, props and trick demonstration
Rope transformations seem like a miracle until you know the secret of this trick. But even after learning the secret, the trick cannot be immediately shown to the audience. It requires careful work. We draw the attention of readers to the last word, because diligence in the work of a magician is above all.
For this number, you will need a piece of linen twisted (round) rope 100 long cm, fishing line with a diameter of 0.2 cm and length 101 cm and several dozen cylinders of 1.5-2 cm length and diameter by 0.1 cm less than the diameter of the rope.
First of all, you should free the piece of rope from the internal threads. In other words, all the internal threads that fill the round rope must be pulled out of it.
After such an operation, only its upper cover, or "stocking", with a through hole along the entire length, will remain from the previous rope. Now we need to prepare several dozen cylinders made of aluminum, plastic or wood (Fig. 32). Cylinders are strung on a piece of fishing line so that both ends of the fishing line remain free 1 cm(see fig. 32).

Then, on these peculiar beads, you need to pull the rope cover. Now the rope again takes on the appearance of a real one, but with the difference that instead of threads, it has cylinders inside it. They will form the basis of the rope. The cylinders inside the cover should be at some distance from each other so that the rope can be freely tied into a knot and twisted with a bundle, like an ordinary one. The upper end of the rope must be fastened tightly, that is, fasten the fishing line and the case in such a way that they hold very firmly. The other end of the line is tied to a button. white color with a metal eye with a diameter slightly larger than the diameter of the cylinders (see Fig. 32). The button should not slip inside the case when the line is pulled.
After the audience is convinced that the performer has an ordinary rope in his hands, you can proceed to show the number. The artist takes in his hand the end of the rope to which the button is attached. Holding the button between the little finger and the ring (or middle) fingers, the performer pulls the line, sliding the thumb and forefinger along it. Such a movement of the fingers will press the cylinders tightly against each other, and the rope will freeze in a vertical position (Fig. 33).

To depict the figure of the letter “G” with a rope, it is enough for the performer to touch it slightly above the middle with his index finger free hand(conditionally right), and with the left, loosen the tension of the fishing line. The cylinders at the point of contact will disperse and the upper part of the rope will lower, depicting the desired figure.

"MAGIC" WHISTLE

The performer goes to the auditorium and asks the audience to give him a pencil. Having received a pencil, he returns to the stage, takes a whistle from his table and, raising it to his mouth, whistles. Then the artist, taking a small piece of thread, ties a whistle to one end of it, and a pencil to the other (Fig. 34). Now the whistle is hanging in the air, dangling freely on a thread. At the request of the audience, the whistle starts to whistle, although it still hangs on a thread and the artist does not touch it. The performer demonstrates the trick by descending into the auditorium. Showing the focus directly in the auditorium causes an increased interest of the audience and enhances the effect of the focus.

Secret, props and trick demonstration
The props of this trick are first of all a whistle, which the performer shows to the audience, then a second, secret whistle, which will produce a whistle at the right moment. In addition, you will need a piece of rubber tube and a rubber bulb. These items can be purchased at any pharmacy.

One end of the rubber tube is placed on the mouth of the whistle, and the other on the rubber bulb (Fig. 35). The length of this device should correspond to the length of the sleeve of the performer's jacket, inside which it will be hidden. The rubber tube is located along the sleeve towards the shoulder, the rubber pear is placed under the arm, and the whistle should be approximately at the level of the cuff (Fig. 36).

So, in the artist's left sleeve is a secret trick device, in his right hand is a whistle suspended from a pencil. In accordance with the desire of the audience to hear the sound of a whistle hanging on a pencil, the performer squeezes the pear under his arm, and the whistle whistles.

HOW TO GET A BURNING CANDLE FROM YOUR POCKET

The effect of this trick is that the artist takes out a burning candle from the pocket of his jacket.

Secret, props and trick demonstration
The main requisite for this trick is an ordinary stearin candle. It must be lit for a short period of time so that the initial part of the wick burns and the head of the candle becomes soft. Then the candle should be extinguished and three matches should be stuck into the softened part of it with sulfur heads up (Fig. 37). These matches form an artificial wick.

In addition, for the trick you will need a plank or a piece of cardboard measuring 9 X 12 cm s covered with a thin layer of sulfur. It is easy to make such a board yourself by sticking several strips of sulfur separated from matchboxes on a cardboard of the right size (Fig. 38).

The cardboard covered with sulfur and the candle should be placed in the side pocket of the jacket so that the wick of the candle is directed to the bottom of the pocket, and the sulfur side of the board is facing the candle (Fig. 39).

At that moment, when the performer takes out a candle from his pocket, he will draw a match wick over the plate, and he will have a burning candle in his hands (Fig. 40).

EXTRAORDINARY BOTTLE

There is a bottle of lemonade and two glasses on the performer's illusion table. The artist takes a bottle and fills both glasses with lemonade (Fig. 41). Suddenly, a colored ribbon appears from the bottle, and the magician begins to pull it out. The tape seems to have no end (Fig. 42).

But then the stream of colored ribbon stopped, and the artist again fills the glasses with sparkling lemonade, which is still in the bottle.

Secret, props and trick demonstration
The secret of this trick lies in the design of the bottle. This bottle is double. It can be made by any glass blower, if he is provided with an appropriate drawing, or a tinsmith who can make such a bottle from tin (Fig. 43).

Acquainted with Fig. 43, but, you will understand the device of this bottle. The inner bottle should naturally be smaller in diameter than the outer one. There should be a gap of 0.5 between bottles cm. This gap is filled with fruit water or tea. And in the middle of the inner bottle, carefully push a tape 10-12 long with a pencil m(Fig. 43, b). For greater effect, the tape must be made up of several segments of ribbons of different colors, 2-3 m every.
The tape is placed in a bottle so that the performer can easily get it with two fingers at the right time.
When filling glasses, the bottle should be held so that the audience does not see the neck. It should be directed towards the side wings.
And one more very important detail: do not forget to paint the bottle that the master will make in the color that a real lemonade bottle has. In addition, it must be properly designed externally - wrap the neck with silver paper and attach the desired label. The more natural the bottle is framed, the less suspicion it will arouse among the audience.

WONDER BOTTLE

We deliberately give a few tricks with the bottle, as this prop is small and easy to manufacture.
On the performer's illusion table stands regular bottle champagne and glass. The artist takes a bottle, fills a glass and drinks the drink with pleasure (Fig. 44).

The performer then wraps the bottle in newspaper. The audience is watching with interest what will happen with this bottle. After all, it was not without reason that the magician wrapped her in a newspaper. And indeed, to the surprise of the audience, the artist begins to pull out of this bottle wrapped in newspaper, one after another, colorful silk scarves (Fig. 45).

Pulling out the last handkerchief (and he took out quite a lot of them), the performer suddenly vigorously crumples the newspaper along with the bottle and throws aside a loose newspaper lump that he no longer needs (Fig. 46).

Secret, props and trick demonstration
The bottle for this trick is made of paper. Its appearance should correspond to a real champagne bottle.
Such a bottle is made of black glossy paper, which can be purchased at any stationery store. It must be glued from two constituent parts- this will facilitate the manufacture of the bottle (Fig. 47).

When both parts of the bottle are ready, a second inner neck should be placed inside its upper part in the neck area. This neck is glued from a photographic film rolled into a tube. The upper part of the tube remains free, and an ordinary nipple is put on the lower part (Fig. 48, a). The diameter of this tube should be slightly smaller than the diameter of the bottle neck. And in terms of capacity, the tube should hold about a glass of water. So that this inner neck does not hang around inside the bottle and does not fall to the bottom, it must be fixed with the help of an inner bottom, which is cut out and put on the tube close to the nipple (Fig. 48, b). Now the straw can be placed at the top of the bottle so that the edge of the inner neck is 1-1.2 cm below the neck of the bottle, and the inner bottom came close to the inside of the upper half of the bottle (Fig. 48, c).

Then you need to cut the edges of the upper "half of the bottle with cloves so that when gluing the parts of the bottle there are no folds and wrinkles, and fasten both halves of the bottle. When the bottle is ready and equipped with all the necessary external decorations (label, silver paper), into its lower part from the side several colorful silk scarves are pushed in. After that, you need to cut the bottom out of thin cardboard and push it a little inside the bottle (Fig. 49).

Just before the performance, the desired drink is poured into the upper part of the bottle (Fig. 50). Now the bottle can be put together with the glass on the illusion table.

The demonstration of focus is as follows. The performer pours the contents of the bottle into the glass and drinks it. He then wraps the bottle in newspaper and turns it upside down without the audience noticing. The bottom of the bottle is easy to open. The artist pulls out one by one the handkerchiefs in the bottle. As soon as the last handkerchief is taken out, the magician can safely crumple the newspaper in his hands along with the bottle and throw this lump into the corner of the stage - there will be no fragments from such a “bottle”.
The disadvantage of this trick is that the bottle must be made for each performance. Therefore, we recommend preparing several bottles at once, approximately ten to fifteen performances ahead.

AMAZING RINGS

At the request of the performer, one of the spectators enters the stage as an assistant. This is a completely foreign magician man. If the artist is assisted in demonstrating the trick by one of the spectators, then the audience, naturally, is imbued with greater confidence in the performer and the effect of the trick is enhanced. The demonstration of such tricks enlivens the audience and increases their interest in the performance of the artist.
So, having invited an assistant from among the audience to the stage, the artist asks him to tightly tie the thumbs of both hands with a bow (Fig. 51).

Tie fingers is a simple matter. When the artist's fingers are securely tied with a strong and durable rope, he asks his assistant to take metal rings from the illusion table. Then, moving away from the assistant to the other end of the stage, the performer asks him to throw one ring at a time into his hands. The ring, thrown by the assistant, miraculously passes through the bound fingers of the performer in an instant and is put on like a bracelet on the right hand (Fig. 52).

One by one, the assistant throws all five rings, and they, having overcome the barrier of closely connected fingers, are strung on the performer's hand (Fig. 53). And the thumbs of both hands of the artist still remain tightly bound. Helper is confused. After all, this miracle happened before his eyes and he directly participated in the demonstration of the trick. At the request of the performer, the somewhat embarrassed assistant unties the rope with difficulty and frees the performer's fingers.

Secret, props and, trick demonstration
All the props of this trick are five rings with a diameter of 20-25 cm and a small piece of string. The secret is in the unusual position of the fingers at the time of their binding. Look closely at fig. 54. You see that the performer, having folded his hands before letting his thumbs be tied, leaves the middle finger of the right hand inside between the palms in a bent position. Having done this, the artist can calmly allow the thumbs of both hands to be tied (Fig. 55), but even in this position of the hands it is, of course, impossible to skip the ring between the bound fingers. But the position of the connected fingers is easy to change and release one of them to allow the ring to pass. This is done in the following way. When the performer convinces the assistant and the audience that his fingers are tightly bound, he can go to the opposite corner of the stage (in relation to the auditorium, the artist should become the right side). At the time when the magician will give instructions to the assistant how to throw the rings, he must prepare his hands to receive the rings.

To free his hands, he needs to stretch up the fingers of both hands, which are facing each other with their palms (see Fig. 55).

The artist will immediately feel that his thumbs are somewhat looser. This was facilitated by the position of the middle finger of the right hand, which was located between the palms.
At the request of the performer, the assistant throws the ring. Almost simultaneously with this movement of the assistant, the performer turns the thumbs so that they are one above the other (right over left, see Fig. 55). The loop that binds the fingers becomes free, and this allows the artist to quickly release the right finger, skip the ring and put it on the right hand (Fig. 56).

As soon as the ring passes through the "tied" fingers, the artist must quickly put the finger back into the loop. This movement must be done as many times as the assistant throws rings. Focus requires a long training, since its execution requires impeccable cleanliness and dexterity of movements, without which success cannot be achieved.

Tricks with a magic wand

(plain black stick with sliding white paper tips).

A stick that doesn't fall.

Let the children hold your magic wand in their hands. If you are not a magician, then, of course, it should fall from you. Then you take it in your hands, conjure as it should, and ... Op! Unclench your hand, but it does not fall, and even how tightly it holds!

And here's the secret... You can give them a try again - very funny to watch.

The stick that you insert into your leg with terrible agony and suffering.

Solemnly put your foot on a hill and ... squeeze the stick into your leg with the appropriate facial expressions.

And here's the secret... The kids are amazed! And then, slowly, back.
In general, tricks are best done in long-sleeved clothes and very slowly.

Tricks with a hat
(with double bottom).

How to make a hat.
You need a large sheet of black paper. Make a cylinder, then a lid-top, as shown below, drawing a circle with chalk around the diameter of the cylinder and 2 cm more for the bends. For the margins, again draw a circle in diameter, a circle 1 cm smaller than the diameter (for bends) and 5 cm larger. Cut out the margins along the last two lines and paste in the same way.

And here is the secret of the double bottom: a kind of butterfly in the diameter of a hat with four wings - two glued circles. Children will not pay any attention to any irregularities - the folds at the bottom of the hat, especially since you need to show the “empty” hat briefly.

And then you can show the following tricks:

Collecting coins out of thin air.

You take off your hat, demonstrate its emptiness, put it in front of you. Then, with a slight wave of the hand, a coin (chocolate) appears in the hand from somewhere above. You importantly put it in your hat and suddenly you see another coin in the other corner: - grab it! - another coin collected! Put it in a hat. You can search together somewhere, in someone's ear for example ... Have fun, but do not forget to put them in a hat, because. then you take out a whole bunch of coins and give them to the kids.

The secret is that you should always keep the coin in your hand (you can stick it to your fingers), and practice hiding it, smoothly “get it out” and “put it” in a hat in which a whole arsenal of coins has long been hidden.

I was exposed in the very first seconds by one very smart girl, so I didn’t succeed with the trick with the appearance of coins, but on the other hand, having conjured a lot over the hat (and pouring out a bunch of coins from the sleeve), I, to complete amazement, was able to treat the children with chocolate from the “empty” hats. I preferred poke coins out of sleeve, because I already had a tiny white rabbit (a plush one, of course) hidden in my hat. And of course, when I handed out the chocolate, we started to fish out of a hat a rabbit. The magic words were "abra-kadabra". At first I tried to do it alone: ​​you conjure, you conjure, you touch the hat with a wand, ... a pause, you look into the hat - it's empty. Children are delighted! The magician did not succeed! I try again - same result. More delight. Let's do it together then: loudly in chorus - “abra - cadabra”! Rabbit? .. rabbit? .. We all conjured seven times together, and when, finally, a little rabbit appeared - that was enough! (Parents then wondered why the children came from the matinee with the words “abra-kadabra”).

By the way, colored scarves that are pulled out one by one can also be hidden in such a hat, but I have not yet practiced it.

And finally - trick with glasses

It is almost a game of thimbles, which attracts not only children but also adults. Only in our case, the game is not a ball, but a mouse, which is always in the center, no matter how you move the glasses. (Here is such a capricious mouse!). Try to move the glasses slowly so that the children can see where they think the mouse is.

The secret is simple: there are actually three mice. And each under his own glass. The only thing is how you raise your glasses. Make thick white or black cardboard circles slightly smaller than the diameter of the glass, glue mice to them, and when you need to pick up an empty glass, just squeeze it a little (it should be plastic or paper), and hold the circle.

And now - balls!

The ball needs to be slightly under-inflated. Leave a tail (about 10 cm).
Start with a knotted edge. Everything is achieved by twisting and twisting.
Use a marker to draw eyes, antennae, and so on.

And here are the possible options:

That's all!

6. Floating egg.
Show the children two identical jars filled with water and two hard-boiled eggs. Invite the children to dip one egg into a jar of water. It will sink. And “enchant” the second egg and lower it into the second jar. It will float. Invite the children to swap eggs. The result will be the same. Their eggs will sink, but you won't.
Focus secret: in one bank plain water, and in the second - a concentrated salt solution. It is he who keeps the egg afloat.

7. Colored water.
The magician shows three jars of water with lids (twisted). He draws attention to the fact that in the jars there is ordinary water, then he says the magic words:

* * *

You, water-water, you are my cold friend,

Become, water-water, not bright, but green.

* * *

You, water-water, you are my beautiful friend,

Become, water-water, not simple, but red.

* * *

You, water-water, bright as frost,

Become, water-voditsa, not simple, but blue!

* * *
The magician shakes the water in the jar, the water turns into the desired color.
The secret of the trick: the inside of the lids is covered with watercolors (red, green, blue). Water is poured into jars in advance.

8. Magic coin.
The magician asks the child to pick up one of the five coins, squeeze it in his hand, hold it, then put it on the table. The magician mixes them up and finds the right one.
The secret of the trick: the coin that was held in the hands is warmer than the rest.

9. Miracle boxes.
The magician half pulls out a matchbox from the case and shows it to the audience. Turns the box upside down and slowly moves it back. Here the box is shown from the other side of the case, but again upside down! You can repeat it again, the effect is the same.
The secret of the trick: the box is cut into two equal parts. Turn one of them upside down and the other upside down. In this position, both parts are glued together with a thin strip of paper (this is not visible in the case). Now, no matter how many times the focus is repeated, the boxes will always turn over.

1. Comic trick with slippers.

The clown takes out a paper bundle. Unties him. He takes out a clean rug from the bundle. From all sides shows it to the audience: nothing is hidden in it. Spreads it out on the floor. Still holding the rug with his hands over the edge, he pulls slippers off with one foot from the other and covers them with the rug. Makes “magic passes” with hands in the air. Raises the doormat and points to the “out of nowhere” shoes that have appeared. Sending a kiss to the audience. Solemnly bows in all directions. And he does not notice that his slippers “by themselves” (they are pulled by the strings) are rapidly “leaving” the stage. Having finished bowing, the clown looks for his slippers with his eyes. They are nowhere! Covering his legs with a rug, he minces from the stage in embarrassment. And while still trying to smile.

Of course, I simplified the proposed option. There was no paper bundle, there was a baby blanket folded in four. I spread it out, covering my legs, and when I was making passes, I quietly got out of my slippers, and they left almost immediately after the rug was raised. I followed them with my head and shoulders down. The most lively reaction was from the father of our girlfriend, he asked in surprise: "How is it?"

2. Endless thread.

(In the book by Mikhailova M.A., this trick migrated from the book by A. Akopyan “50 entertaining tricks”. M .: Art, 1964)

The magician notices a white thread on his jacket, near the lapel, several times tries to brush it off. But the thread is not "brushed off". The magician takes the end of it and pulls it down. The thread starts to pull out of the jacket. The more it stretches out, the more surprised the magician is. And the length of the thread is several tens of meters! Focus mechanics: a white thread from the reel is wound on a short colored pencil (as much as it is wound), placed in the side inner pocket and its tail (1-2cm) is pulled with a needle through the fabric of the jacket to the outside. The pencil is needed so that “no traces are left in the pocket” if one of the spectators asks the magician to show the pocket; a pencil is not a reel, it will not help solve this trick.

I did this trick less emotionally, and we offered children to brush and remove the thread. The problem was that the child recognized me in the image, and when I gasped at the moment of pulling the thread, my daughter was frightened: my mother is strict, she thought that she had spoiled something. A year later, the same trick went off with a bang, but everyone wanted to try it, and there were only two threads.

3. Glass on paper.

Place two glasses on the table at some distance from one another (the glasses should not be heavy). Give the audience a sheet of paper and invite the third glass to be placed on this paper placed on the glasses. No one will believe that a thin sheet of paper can withstand the weight of a glass placed on it. To do this trick, you need to fold a sheet of paper like an accordion (along the long side), and the glass will stand.

This number failed for us, the glasses were plastic and the paper held them without additional effort. Parents connected at the third focus, probably too early for children. Then another ten minutes entertained parents and grandmothers.

Series of messages " ":

tricks, holidays

Part 1 - Tricks