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the performance venue before the performance. Pre-show work can take a number of forms. One type involves the mentalist talking to a spectator whom he will later, during his performance, involve in one of his effects. In this case the mentalist sets up the trick by covertly obtaining information from the spectator which he will later reveal during the performance. The interaction with the spectator may be made to seem like a casual “meet the audience” conversation, with no warning that the spectator is later to be involved in the performance. Alternatively, the mentalist may tell the spectator that he intends to involve her in his show. In that case the pre-show interaction is usually characterised as preparation “to save time during the show” or similar. Either way, the mentalist will use the occasion to obtain information from the spectator covertly for later revelation, either by traditional sleight of hand methods such as a billet peek, or by using electronic gimmickry such as a
Parapad. Alternatively, the mentalist may ask the spectator to make a choice (eg a number, a playing card, a selection from a list of items) and to recall that choice when later asked to participate during the performance. Typically the spectator will believe she has a free choice, but in fact it will be a choice forced by the mentalist, This can be done in a number of ways. One popular method is a proprietary device called a Svenpad. This is a notepad in which every second page is imperceptibly shorter. The long pages each have written on them an item from a list of choices (eg film stars, holiday destinations etc), but the short pages each have the same item - the force choice - written on them. When riffled from front to back only the long pages are visible, showing the full range of different choices. But when riffled from back to front only the short pages are visible, each bearing the force selection. Other forcing methods include trick decks of cards, where all the cards are the same. During the performance itself, when the mentalist involves the spectator in his effect, he will usually aim by careful use of language to avoid any mention of the pre-show interaction to the wider audience, either by himself or the chosen spectator. His aim is to suggest that he and the spectator have not previously met. When the spectator’s covertly obtained information or forced choice is revealed, this greatly enhances the effect from the point of view of the wider audience. It will usually seem that the mentalist has elicited a wholly uncommunicated thought from a random audience member. The chosen spectator herself, having participated in the pre-show encounter, perceives a different and less spectacular effect. This is an example of dual reality (discussed below) in mentalism.
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the mentalist then secretly to access the written-down information. There are various techniques which the mentalist can use. A classic method is the "centre tear". The spectator is asked to commit her thought to writing on a small piece of paper (referred to by mentalists as a "billet"). She is told to write the thought in the centre of the billet, and sometimes a circle or a line will be added by the mentalist onto the billet to make sure she writes in the middle. She is then instructed to fold the billet up so that the writing cannot be seen by the mentalist. The mentalist then takes the billet and tears it into small pieces, which he may then burn or throw away or return to the spectator's hand "for safe-keeping". Secretly, during the tearing process, the mentalist tears out and secretes the centre part of the billet which bears the written thought, and later finds an opportunity to read it covertly. Alternatively the mentalist may covertly peek at the written thought. There are a large number of detailed choreographies used by mentalists to achieve a peek. One popular version - known as the "acidus novus" peek - requires the spectator to write her thought on the bottom right-hand corner of the billet. Typically the mentalist will fill up the other 3 quadrants of the billet with writing so that only the bottom right-hand quadrant is left clear. Once the thought is written and the billet folded, the mentalist will hold the billet up to the light to demonstrate that no writing can be seen through the paper. In the course of this action he is able, unobserved by the audience, to slip his thumb between the folds of the billet and expose a view of the bottom right-hand quadrant. He then gestures with the billet, bringing it at eye-level across his field of vision, and in so-doing is able secretly to peek at the spectator's written thought. This is only one of a number of such peek choreographies. Some involve placing the billet in a gimmicked wallet, which allows the mentalist covertly to see the writing. Others employ sleights of hand derived from card or coin magic.
219:. However, many professional mentalists today may generally distinguish themselves from magicians, insisting that their art form leverages a distinct skillset. Instead of doing "magic tricks", mentalists argue that they produce psychological experiences for the mind and imagination, and expand reality with explorations of psychology, suggestion, and influence. Mentalists are also often considered psychic entertainers, although that category also contains non-mentalist performers such as psychic readers and
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that the magician cannot really achieve the impossible feats shown, such as sawing a person in half and putting them back together without injury, but that level of certainty does not generally exist among the mentalist's audience. Still, other mentalists believe it is unethical to portray their powers as real, adopting the same presentation philosophy as most magicians. These mentalists are honest about their deceptions, with some referring to this as "theatrical mentalism".
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provide enough ambiguity that it is unclear whether it is actually possible to somehow achieve. This lack of certainty about the limits of what is real may lead individuals in an audience to reach different conclusions and beliefs about mentalist performers' claims – be they about their various so-called psychic abilities, photographic memory, being a "human calculator", power of suggestion,
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transmit what has been written etc. Smartphones have added an additional range of possibilities. For example, the mentalist can use concealed NFC tags to covertly download onto a spectator’s phone a fake version of a popular website such as Google Images, which allows him to know an image which the spectator believes has been chosen secretly.
253:, who also worked to debunk fraudulent mediums, captured this key sentiment when he explained his impressive abilities in the following way: "Any child of ten could do this – with forty years of experience." Like any performing art, mentalism requires years of dedication, extensive study, practice, and skill to perform well.
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refers to the practice of gathering background information about the audience or participants before doing a mentalism act or seance. Mentalists can then astonish spectators by revealing something they could not possibly have known otherwise. However, doing hot readings without informing the audience
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Also known as diversion, this technique aims to divert the audience's attention away from the secret method or process behind a mentalism effect. Magicians and mentalists frequently use grand gestures, animated movement, music, and chatter to distract attention from a sneaky maneuver that sets up the
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employed by stage magicians. Many mentalists claim not to be magicians at all, arguing that it is a different art form altogether. The argument is that mentalism invokes belief and imagination that, when presented properly, may allow the audience to interpret a given effect as "real" or may at least
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Master mentalists have an in-depth understanding of human psychology which allows them to subtly manipulate thoughts, emotions, and behaviors. They use verbal suggestion, social pressure, visual cues and mental framing to influence perceptions and reactions. This lets them guide participants towards
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This technique involves implanting an idea, thought, or impression in the mind of the spectator or participant. The mentalist does this by using subtle verbal cues, gestures, body language, and sometimes visual aids to influence their thoughts. For instance, asking someone to "think of any card in a
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Magicians often ask the audience to suspend their disbelief, ignore natural laws, and allow their imagination to play with the various tricks they present. They admit that they are tricksters from the outset, and they know that the audience understands that everything is an illusion. Everyone knows
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The most skilled mentalists ensure their performances seem completely natural, organic and unrehearsed even though they are carefully planned. They structure their acts, patter and effects to come across as pure luck, coincidence or chance rather than as clever illusions or tricks. This 'invisible'
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This principle involves structuring a routine to present different experiences to the observer versus the participant. For example, a mentalist may have an audience member pick a "random" card that is actually forced by the mentalist's assistant. The participant believes they freely chose any card,
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This technique involves making calculated guesses and drawing logical conclusions about a person by carefully observing their appearance, responses, mannerisms, vocal tones, and other unconscious reactions. Mentalists leverage these cues along with high probability assumptions about human nature to
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A characteristic feature of "mind-reading" by a mentalist is that the spectator must write the thought down. Various justifications are given for this - in order to enable the spectator to focus on the thought, or in order to show it to other audience members etc. - but the real reason is to enable
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Many mentalism effects rely on pre-show work. This involves the mentalist or his assistant interacting with certain members of the audience before the performance begins. This can be in a pre-show reception, or in the auditorium itself as the audience take their seats, or even in the queue outside
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Where a mind-reading performance does not involve the spectator writing the secret thought down, generally the method employed is that the mentalist purports to predict the secret thought by (apparently) writing an unseen prediction, often behind a clipboard or other hard surface, then he asks the
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In addition to these traditional magicians' techniques, there is today a huge range of electronic, computer and other gimmicks available to the mentalist. These include dice which secretly transmit the numbers thrown, decks of cards which secretly transmit the cards chosen, notepads which secretly
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Again, these traditional magicians’ devices have now been supplemented by technology. The mentalist can now buy blackboards and whiteboards which are capable of writing (apparently) handwritten messages fed to them remotely, small printers which can print a spectator’s chosen number and feed the
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reiterated the theme, so reminiscent of the ancient Greeks, that three principias were incorporated into humanity: the spiritual, the physical, and mentalistic phenomena. The mentalist act generally cited as one of the earliest on record in the modern era was performed by diplomat and pioneering
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who often adopt this method of performance tell their audience before the trick starts that everything they see is an illusion and that they are not really "having their mind read." This has been the cause of a lot of controversy in the sphere of magic as some mentalists want their audience to
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Mentalists typically seek to explain their effects as manifestations of psychology, hypnosis, an ability to influence by subtle verbal cues, an acute sensitivity to body language, etc. These are all genuine phenomena, but they are not sufficiently reliable or impressive to form the basis of a
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often presented his performances as creating interactive mysteries and explorations of the mysterious dimensions of the human mind. He is described as a "mentalist and master magician" as well as a "mystery theorist." Other mentalists and allied performers also promote themselves as "mystery
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for many years to investigate and debunk fake psychics. He is clear with the public that the effects and experiences he creates through his stage performance are the result of his highly developed performance skills and magic techniques, combined with psychological principles and tactics.
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spectator to reveal the thought, and the mentalist at that point quickly and covertly writes or completes his prediction using a nail writer or swami gimmick. These are small devices which allow the mentalist to write unseen with his thumb under cover of a clipboard or in his pocket.
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printed paper into an (apparently) sealed jar, and a host of other technological gadgets which make it appear that the mentalist predicted the spectator’s thought, when in fact he simply waited for it to be disclosed by the spectator and then created the evidence of his “prediction”.
314:. Nonetheless, modern mentalists also now increasingly incorporate insights from human psychology and behavioral sciences to produce unexplainable experiences and effects for their audiences. Changing with the times, some mentalists incorporate an iPhone into their routine.
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Contemporary mentalists often take their shows onto the streets and perform tricks to a live, unsuspecting audience. They do this by approaching random members of the public and ask to demonstrate so-called supernatural powers. However, some performers such as
508:, who make no specific claims about how effects are achieved and may leave it up to the audience to decide, creating what has been described as "a wonderful sense of ambiguity about whether they possess true psychic ability or not."
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Mentalism techniques have, on occasion, been allegedly used outside the entertainment industry to influence the actions of prominent people for personal and/or political gain. Famous examples of accused practitioners include:
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normal deck" automatically plants the general idea of a playing card in their mind. Similarly, asking them to "visualize the card clearly in your mind" can put the image of a particular card in their imagination.
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However, some magicians do still mix mentally-themed performance with magic illusions. For example, a mind-reading stunt might also involve the magical transposition of two different objects. Such hybrid feats of
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trick. For example, a mentalist may engage in lively conversation while secretly writing something on his palm. Or he may dramatically throw his jacket on a chair to cover up a hidden assistant in the audience.
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come up with surprisingly accurate character insights and details about someone. They can then present this as if they magically knew the information through psychic powers.
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mentalism performance. These are in fact fake explanations - part of the mentalist's misdirection - and the true method being employed is classic magicians' trickery.
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is considered unethical. Ethical mentalists only do hot readings if they explicitly disclose it, or do it for entertainment with the participant's consent.
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Much of what modern mentalists perform in their acts can be traced back directly to "tests" of supernatural power that were carried out by mediums,
1680:(Documentary, Biography, Comedy, History), James Randi, José Alvarez, Penn Jillette, Teller, Left Turn Films, Pure Mutt Productions, BBC Storyville
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473:. In this vein, Brown explains that he presents and stages "psychological experiments" through his performances. Mentalist and psychic entertainer
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Professional mentalists generally do not mix "standard" magic tricks with their mental feats. Doing so associates mentalism too closely with the
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the responses, outcomes or choices they want. For instance, a mentalist may hint that choosing a certain number will lead to something positive.
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1507:"The Psychic ... and the Skeptic : Uri Geller and James Randi have fought each other for nearly 20 years. Now they're at it again"
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explain that "entalism is a genre of magic that exists across a spectrum of morality." In the past, at times, some performers such as
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believe that this type of magic is "real" while others think that it is morally wrong to lie to a spectator.
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means", natural human abilities (i.e. reading body language, refined intuition, subliminal communication,
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also rejects that he possesses any supernatural or actual psychic powers, having worked with the
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in the 19th century. However, the history of mentalism goes back even further. Accounts of
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Performing art in which practitioners appear to demonstrate exceptional mental abilities
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The Last
Empress: The Life and Times of Alexandra Feodorovna, Tsarina of Russia
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Cassidy, Bob: "Fundamentals of
Professional Mentalism". Lybrary, 2007. pp. 7–9.
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by performers. Magicians who routinely mix magic with mental magic include
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Leaves from
Conjurers' Scrap books: Or, Modern Magicians and Their Works
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Gordon, Mel: "Hanussen: Hitler's Jewish
Clairvoyant". Feral House, 2001
1256:. Berkeley and Los Angeles, California: University of California Press.
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Principle: sleight of hand and other traditional magicians' techniques
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The
Thought Reader Craze: Victorian Science at the Enchanted Boundary
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Hamilton-Parker, Craig (December 1, 1996). "Medium with a message".
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and, when performed by a stage magician, may also be referred to as
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815:, accused of influencing members of the French aristocracy in the
1600:"Mentalism, mind reading and the art of getting inside your head"
1133:"'An Honest Liar': How the Amazing Randi debunked psychic frauds"
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Styles of mentalist presentation can vary greatly. In this vein,
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1801:"Magic professor: magicians tap into what it means to be human"
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artistry maintains the mystique around mentalist performances.
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This article is about the performing art. For other uses, see
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2041:. Chicago: Donohue, Henneberry & Co. pp. 108–127
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The
American Journal of Semitic Languages and Literatures
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is a performing art in which its practitioners, known as
1654:"Banachek – Mentalism and Skepticism | Point of Inquiry"
1028:
Ghosts of
Newport: Spirits, Scoundres, Legends and Lore
1540:"Uri Geller offers UK his 'psychic powers' in job bid"
1460:'Mentalism Techniques': Techniques to master mentalism
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Theatrical poster for a mind-reading performance, 1900
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Measom, Tyler; Weinstein, Justin (November 2, 2014),
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1062:"Psychic Entertainers Association : Application"
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Mentalism is commonly classified as a subcategory of
951:"What's the difference between magic and mentalism?"
1159:"How Derren Brown Remade Mind Reading for Skeptics"
208:, memory feats, deduction, and rapid mathematics.
168:forces but that are actually achieved by "ordinary
67:. Unsourced material may be challenged and removed.
26:"Mentalist" redirects here. For the TV series, see
1775:"PSYCRETS British Society of Mystery Entertainers"
1749:"Max Maven, Mystery Theorist & Magician (EG8)"
302:in 1572. The performance of mentalism may utilize
1270:Imagery in Healing: Shamanism and Modern Medicine
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1779:PSYCRETS British Society of Mystery Entertainers
1983:
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454:have promoted themselves as genuine psychics.
350:Nail writing and its technological equivalents
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1905:"Key Differences Between Mentalism and Magic"
1879:"Key Differences Between Mentalism and Magic"
1853:"Key Differences Between Mentalism and Magic"
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1117:Arts and Entertainment: Mentalist or Crook?
425:while the audience knows it's manipulated.
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127:Learn how and when to remove this message
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983:. United Kingdom: Transworld Publishers.
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246:powers and, thus, operates unethically.
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2361:Mark Wilson's Complete Course In Magic
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1652:Cerrado, Derrick (November 13, 2009).
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457:Some contemporary performers, such as
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919:"Mentalism – Encyclopedia of Claims"
65:adding citations to reliable sources
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2067:Max Maven's Book of Fortunetelling.
2048:. Transworld Press. United Kingdom.
1935:Kostya Kimlat the Business Magician
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226:Some well-known magicians, such as
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2081:Mind Readers: Masters of Deception
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1157:Green, Adam (September 26, 2019).
1131:Roeper, Richard (March 19, 2015).
479:James Randi Educational Foundation
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1999:Halpern, Paul (August 30, 2020).
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1799:Landman, Todd (March 18, 2016).
1598:Derren Brown (August 26, 2019).
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1515:. July 27, 2020. Archived from
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1482:"Alexander – The man who knows"
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1247:Flower, Michael Attyah (2008).
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52:needs additional citations for
1699:"All About Max ~ MaxMaven.com"
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817:Affair of the Diamond Necklace
813:Count Alessandro di Cagliostro
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2079:William V. Rauscher. (2002).
2034:Mind-Readers and Their Tricks
2001:"Einstein and the Mentalists"
1194:"Oracle in the Old Testament"
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806:, alleged to have influenced
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2337:The Expert at the Card Table
2321:The Discoverie of Witchcraft
1826:"Is it wrong to work Magic?"
1434:"how does cold reading work"
306:including sleights, feints,
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2353:Thirteen Steps to Mentalism
883:Thirteen Steps To Mentalism
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724:Alexander J. McIvor-Tyndall
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1250:The Seer in Ancient Greece
1114:Penn & Teller (2021).
529:Mentalist Joseph Dunninger
521:Distinction from magicians
411:Psychological manipulation
160:that may appear to employ
32:Mentalist (disambiguation)
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21:Mentalism (disambiguation)
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1273:. Shambhala. p. 71.
1026:Brennan, John T. (2007).
546:utilized in stage magic.
2086:Barry H. Wiley. (2012).
1046:Vanishing, Inc. (2021).
830:1930 book on telepathy,
1967:. Replica Books, 2001.
1267:Achterberg, J. (2002).
848:Simon Baker starred in
2402:Hugard's Magic Monthly
1903:Mio (March 22, 2016).
1877:Mio (March 22, 2016).
1851:Mio (March 22, 2016).
979:Brown, Derren (2007).
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465:and showmanship, read
438:Performance approaches
174:emotional intelligence
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30:. For other uses, see
2473:Films about magicians
2083:. Mystic Light Press.
2044:Derren Brown (2007).
1544:www.timesofisrael.com
1408:"art of misdirection"
1192:Grant, Elihu (1923).
877:Scientific skepticism
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2051:Steve Drury (2016).
1931:"Mentalist Magician"
1728:www.theatermania.com
1613:– via YouTube.
995:"What is Mentalism?"
544:conjuring techniques
304:conjuring principles
277:can be found in the
61:improve this article
2519:Midnight ghost show
2444:Smoke & Mirrors
1438:Vanishing Inc Magic
594:The Amazing Kreskin
572:The Amazing Kreskin
535:theatrical trickery
285:and in works about
249:Renowned mentalist
2132:Magic and illusion
2065:Max Maven (1992).
2046:Tricks of the Mind
1986:Scotland on Sunday
1755:. October 30, 2019
1388:. October 25, 2021
1360:. Vanishing Inc.
1356:Wind, Asi (2021).
1310:St. Martin's Press
1048:What is Mentalism?
981:Tricks of the Mind
853:
840:In popular culture
776:Historical figures
582:Notable mentalists
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1832:on April 26, 2015
1512:Los Angeles Times
1337:. August 13, 2023
1280:978-0-8348-2629-8
1137:Chicago Sun-Times
786:Erik Jan Hanussen
759:Princess Mysteria
744:Richard Osterlind
719:Gerry McCambridge
684:Glenn Falkenstein
619:Theodore Annemann
564:David Copperfield
558:are often called
444:Penn & Teller
228:Penn & Teller
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2514:Indian magicians
2416:The Linking Ring
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1929:Kimlat, Kostya.
1926:
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1828:. Archived from
1822:
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1805:The Conversation
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1703:www.maxmaven.com
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1564:Larimer, Sarah.
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1526:
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1519:on July 27, 2020
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1030:. History Press.
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931:
929:
915:
828:Upton Sinclair's
795:Grigori Rasputin
669:The Clairvoyants
604:Joseph Dunninger
463:magic techniques
332:Written "billet"
251:Joseph Dunninger
132:
125:
121:
118:
112:
110:
69:
45:
37:
2565:
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2550:Performance art
2530:
2529:
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2523:
2502:
2468:Conjuring terms
2456:
2375:
2308:
2299:Sleight of hand
2276:
2270:
2179:
2170:
2134:
2129:
2025:
2023:Further reading
2020:
2019:
2009:
2007:
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1982:
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1628:"Project Alpha"
1626:
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1618:
1608:
1606:
1604:www.youtube.com
1596:
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1570:Washington Post
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1415:
1414:. July 18, 2019
1412:katherine mills
1406:
1405:
1401:
1391:
1389:
1380:
1379:
1375:
1368:
1358:Before We Begin
1354:
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927:
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904:
858:
842:
824:Albert Einstein
778:
773:
749:The Piddingtons
694:Haim Goldenberg
584:
523:
489:entertainers".
440:
431:
429:Subtle artistry
422:
413:
401:
392:
383:
374:
365:
352:
343:
341:Modern gimmicks
334:
325:
320:
300:Girolamo Scotto
296:sleight-of-hand
259:
158:special effects
133:
122:
116:
113:
70:
68:
58:
46:
35:
24:
17:
12:
11:
5:
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2345:Tarbell Course
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2304:Pepper's ghost
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2223:
2221:Close-up magic
2218:
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2105:
2099:
2098:
2096:978-0786464708
2084:
2077:
2063:
2061:978-1326544867
2049:
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2024:
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2018:
2017:
1991:
1976:
1973:978-0735101043
1956:
1947:
1921:
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1690:
1677:An Honest Liar
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1239:
1210:10.1086/369998
1204:(4): 257–281.
1184:
1175:
1163:The New Yorker
1149:
1123:
1120:. MasterClass.
1103:
1078:
1053:
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838:
826:'s preface to
820:
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287:ancient Greece
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117:September 2011
49:
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40:
15:
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2097:
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2090:. McFarland.
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1963:George King,
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1753:EG Conference
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1367:9781954243002
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1066:www.p-e-a.org
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896:Muscle memory
894:
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890:The Mentalist
887:
885:
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880:
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875:
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868:
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860:
859:
851:
850:The Mentalist
846:
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834:
829:
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818:
814:
811:
809:
808:Joseph Stalin
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712:
710:
709:Nina Kulagina
707:
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697:
695:
692:
690:
689:Maurice Fogel
687:
685:
682:
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670:
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662:
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654:Akshay Laxman
652:
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645:
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639:David Berglas
637:
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541:
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509:
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506:David Berglas
503:
499:
495:
494:Maurice Fogel
490:
487:
483:
480:
476:
472:
468:
467:body language
464:
460:
455:
453:
449:
445:
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426:
417:
408:
405:
396:
387:
378:
369:
363:Pre-show work
360:
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329:
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313:
309:
305:
301:
297:
292:
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284:
280:
279:Old Testament
276:
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264:
263:spiritualists
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198:psychokinesis
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88:
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81:
78: –
77:
73:
72:Find sources:
66:
62:
56:
55:
50:This article
48:
44:
39:
38:
33:
29:
28:The Mentalist
22:
2488:Publications
2449:
2442:
2435:
2428:
2421:
2414:
2407:
2400:
2393:
2386:
2367:
2359:
2351:
2343:
2335:
2329:Modern Magic
2327:
2319:
2294:Misdirection
2289:Equivocation
2245:
2087:
2080:
2066:
2052:
2045:
2038:
2033:
2008:. Retrieved
2004:
1994:
1988:. p. 5.
1985:
1979:
1964:
1959:
1950:
1940:February 14,
1938:. Retrieved
1934:
1924:
1912:. Retrieved
1909:Magic by Mio
1908:
1898:
1886:. Retrieved
1883:Magic by Mio
1882:
1872:
1860:. Retrieved
1857:Magic by Mio
1856:
1846:
1834:. Retrieved
1830:the original
1820:
1808:. Retrieved
1804:
1794:
1782:. Retrieved
1778:
1769:
1757:. Retrieved
1752:
1743:
1731:. Retrieved
1727:
1718:
1706:. Retrieved
1702:
1693:
1682:, retrieved
1676:
1669:
1657:. Retrieved
1647:
1635:. Retrieved
1631:
1607:. Retrieved
1603:
1593:
1581:. Retrieved
1569:
1559:
1547:. Retrieved
1543:
1533:
1521:. Retrieved
1517:the original
1510:
1501:
1489:. Retrieved
1486:ForzoniMagic
1485:
1476:
1465:, retrieved
1463:, March 2024
1459:
1453:
1441:. Retrieved
1437:
1428:
1416:. Retrieved
1411:
1402:
1390:. Retrieved
1386:Lior Suchard
1385:
1376:
1357:
1351:
1339:. Retrieved
1334:
1325:
1313:. Retrieved
1302:Randi, James
1296:
1284:. Retrieved
1269:
1262:
1249:
1242:
1201:
1197:
1187:
1178:
1166:. Retrieved
1162:
1152:
1140:. Retrieved
1136:
1126:
1116:
1094:. Retrieved
1090:
1081:
1069:. Retrieved
1065:
1056:
1047:
1027:
1002:. Retrieved
998:
989:
980:
959:. Retrieved
954:
926:. Retrieved
922:
888:
881:
867:Memory sport
862:Cold reading
833:Mental Radio
831:
821:
804:Wolf Messing
790:Adolf Hitler
779:
729:Wolf Messing
699:Burling Hull
679:Anna Eva Fay
659:Chan Canasta
609:Derren Brown
589:Lior Suchard
568:David Blaine
560:mental magic
559:
552:
548:
532:
514:Derren Brown
510:
502:Chan Canasta
491:
484:
459:Derren Brown
456:
441:
432:
423:
420:Dual reality
414:
402:
393:
390:Cold reading
384:
381:Misdirection
375:
366:
357:
353:
344:
335:
326:
308:misdirection
260:
248:
244:extrasensory
236:supernatural
225:
217:mental magic
216:
210:
206:mind control
194:precognition
186:clairvoyance
166:supernatural
153:
149:
148:
138:
123:
114:
104:
97:
90:
83:
71:
59:Please help
54:verification
51:
2388:Abracadabra
2380:Periodicals
2156:Conventions
2010:January 11,
1914:January 10,
1888:January 10,
1862:January 10,
1810:January 10,
1784:January 11,
1759:January 10,
1733:January 10,
1708:January 10,
1684:January 10,
1659:January 10,
1637:January 10,
1609:January 11,
1583:January 10,
1549:January 10,
1523:January 10,
1491:January 10,
1335:Sports Rush
1168:January 10,
1142:January 10,
1096:January 11,
1071:January 11,
1004:January 11,
961:January 10,
928:January 10,
769:The Zancigs
754:Oz Pearlman
664:Bob Cassidy
629:Keith Barry
404:Hot reading
399:Hot reading
312:stage magic
232:James Randi
76:"Mentalism"
2534:Categories
2451:The Sphinx
2313:Guidebooks
2284:Levitation
2277:techniques
2275:Tricks and
2241:Mathemagic
2231:Escapology
2216:Children's
2200:techniques
2146:Assistants
2075:0135641217
2031:. (1891).
1382:"glossary"
902:References
764:Marc Salem
649:Paul Brook
599:Uri Geller
471:suggestion
452:Uri Geller
372:Suggestion
318:Techniques
291:Paracelsus
257:Background
221:bizarrists
202:mediumship
190:divination
154:mentalists
87:newspapers
2540:Mentalism
2478:Magicians
2369:Conjuring
2206:Cardistry
2055:. Drury.
1836:April 12,
1578:0190-8286
1467:March 30,
1315:March 28,
1234:170460547
1218:1062-0516
872:Mnemonist
799:Alexandra
739:Marc Paul
714:Max Maven
634:Guy Bavli
614:Alexander
486:Max Maven
448:Alexander
298:magician
182:telepathy
170:conjuring
150:Mentalism
2493:Timeline
2430:Magigram
2409:The Jinx
2251:Platform
2161:Exposure
1632:Banachek
1304:(1995).
1091:Banachek
955:CW Magic
856:See also
734:Alain Nu
704:Al Koran
624:Banachek
475:Banachek
267:psychics
178:hypnosis
2507:Related
2483:Museums
2437:Mahatma
2348:(1928–)
2210:history
2191:Bizarre
2139:General
1443:May 19,
1418:May 19,
1392:May 19,
1341:May 19,
1286:June 1,
674:Corinda
498:Kreskin
281:of the
275:oracles
240:psychic
162:psychic
101:scholar
2498:Tricks
2372:(1992)
2364:(1975)
2356:(1961)
2340:(1902)
2332:(1876)
2324:(1584)
2266:Street
2256:SĂ©ance
2246:Mental
2236:Gospel
2184:Genres
2166:Stores
2094:
2073:
2059:
2005:Medium
1971:
1576:
1364:
1277:
1232:
1226:528285
1224:
1216:
957:. 2021
576:Dynamo
574:, and
504:, and
265:, and
230:, and
103:
96:
89:
82:
74:
2461:Lists
2423:Magic
2395:Genii
2261:Stage
2151:Clubs
2037:. In
1538:AFP.
1254:(PDF)
1230:S2CID
1222:JSTOR
1087:"Bio"
556:magic
283:Bible
271:seers
242:, or
213:magic
108:JSTOR
94:books
2226:Coin
2196:Card
2092:ISBN
2071:ISBN
2057:ISBN
2012:2021
1969:ISBN
1942:2024
1916:2021
1890:2021
1864:2021
1838:2015
1812:2021
1786:2021
1761:2021
1735:2021
1710:2021
1686:2021
1661:2021
1639:2021
1611:2021
1585:2021
1574:ISSN
1551:2021
1525:2021
1493:2021
1469:2024
1445:2024
1420:2024
1394:2024
1362:ISBN
1343:2024
1317:2008
1288:2023
1275:ISBN
1214:ISSN
1170:2021
1144:2021
1098:2021
1073:2021
1006:2021
999:Brut
963:2021
930:2021
923:JREF
450:and
273:and
80:news
1206:doi
822:In
540:NLP
164:or
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