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Sharpe, S.H.: Neo-Magic ©1946 Second (revised) edition |
 Image courtesy eBay seller AshleysAttic2011 |
 Image courtesy eBay seller Anth9009 |
Contents (based on contents in Magic Factory's Neo-Magic Artistry edition):
2 Introduction
3 Preface to the Second Edition
5 Ode to a Magician
6 1. Conjuring as a Fine Art
7 I. The Nature of Art
8 II. The Nature of Conjuring
9 III. Critical Objections to Conjuring as an Art
10 IV. Showmanship
11 V. Order of Merit of Conjuring Effects
12 VI. Popularity
13 2. Grades of Art
14 I. False Art
15 II. Formal Art
16 III. Naturalistic Art
17 IV. Imaginative Art
18 V. Absolute or Abstract Conjuring
19 3. The Originator
20 I. Conjurers Classified
21 II. Originality
22 III. Systematic Invention of Effects
23 IV. Forms of Assistance
24 V. Analysis of Magical Plots
25 VI. New Dramatic Plots
26 VII. Copyright
27 4. Patter
28 I. Types of Patter
29 II. Types of Patter, Part Two
30 III. Composition of Patter
31 IV. Making Magic Convincing
32 V. Complication and Climax
33 VI. Tragedy and Farce
34 VII. Comedy in Conjuring
35 VIII. Comedy in Conjuring, Part Two
36 IX. Comedy in Conjuring, Part Three
37 5. The Conjurer
38 I. The Inventor and Manufacturer
39 II. The Executive Conjurer
40 III. Desirable Qualities in a Conjurer
41 IV. Mastering the Craft
42 6. Production
43 I. Necessity of a Producer
44 II. Advertising
45 III. Styles of Presentation
46 IV. The Magical Sketch
47 V. Logic
48 VI. Logic, Part Two
49 VII. Consistency
50 VIII. Unfounded Suspicion
51 IX. On Leaving the Stage
52 X. Dramatic Types
53 XI. Preparing Against a Contretemps
54 7. Production, Part Two
55 I. Programme Construction
56 II. Audiences
57 III. Choice of Apparatus
58 IV. More About Audiences
59 V. Order of Effects
60 VI. Surprise, Suspense, Repetition, and Transition
61 VII. Holding Attention
62 VIII. Separate Item v. Sequenced Programme
63 IX. Pattern Programmes
64 X. Incidentals
65 8. Production, Part Three
66 I. Interest
67 II. Stage Fright
68 III. Emotional Appeal
69 IV. Scene
70 V. Schools of Conjuring
71 VI. The Legitimate Use of Apparatus
72 9. Production, Part Four
73 I. Action
74 II. Sound
75 III. Music
76 IV. Sound Effects
77 10. The Critic
78 I. Constructive Criticism
79 II. Objects of Criticism
80 III. Exposure
81 IV. Magic and Music
82 V. Exposing Minor Effects
83 VI. Exposing Sleight-of-Hand and Stage Magic
84 VII. Immunity of the Artist
85 VIII. Better Conjuring
86 IX. Mediums of Exposure
87 X. Conclusion
