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Sharpe, S.H.: Neo-Magic ©1946 Second (revised) edition |
 Image courtesy eBay seller AshleysAttic2011 |
 Image courtesy eBay seller Anth9009 |
Contents (from 2nd Edition book ToC):
3 Preface to the Second Edition
11 Ode to a Magician
13 Introduction
15 1. Conjuring as a Fine Art
15 I. The Nature of Art
16 II. The Nature of Conjuring
17 III. Critical Objections to Conjuring as an Art
19 IV. Showmanship
21 V. Order of Merit of Conjuring Effects
23 VI. Popularity
27 2. Grades of Art
27 I. False Art
27 II. Formal Art
30 III. Naturalistic Art
31 IV. Imaginative Art
32 V. Absolute or Abstract Conjuring
33 3. The Originator
33 I. Conjurers Classified
33 II. Originality
34 III. Systematic Invention of Effects
37 IV. Forms of Assistance
38 V. Analysis of Magical Plots
44 VI. New Dramatic Plots
46 VII. Copyright
47 4. Patter
47 I. Types of Patter
49 II. Types of Patter, Part Two
50 III. Composition of Patter
51 IV. Making Magic Convincing
53 V. Complication and Climax
54 VI. Tragedy and Farce
55 VII. Comedy in Conjuring
57 VIII. Comedy in Conjuring, Part Two
58 IX. Comedy in Conjuring, Part Three
59 5. The Conjurer
59 I. The Inventor and Manufacturer
59 II. The Executive Conjurer
60 III. Desirable Qualities in a Conjurer
62 IV. Mastering the Craft
65 6. Production
65 I. Necessity of a Producer
66 II. Advertising
66 III. Styles of Presentation
70 IV. The Magical Sketch
71 V. Logic
72 VI. Logic, Part Two
72 VII. Consistency
74 VIII. Unfounded Suspicion
74 IX. On Leaving the Stage
75 X. Dramatic Types
75 XI. Preparing Against a Contretemps
77 7. Production, Part Two
77 I. Programme Construction
78 II. Audiences
80 III. Choice of Apparatus
81 IV. More About Audiences
82 V. Order of Effects
83 VI. Surprise, Suspense, Repetition, and Transition
84 VII. Holding Attention
85 VIII. Separate Item v. Sequenced Programme
86 IX. Pattern Programmes
89 X. Incidentals
91 8. Production, Part Three
91 I. Interest
92 II. Stage Fright
93 III. Emotional Appeal
95 IV. Scene
95 (i) Colour
98 (ii) Background
99 (iii) Lighting
100 (iv) Costume
100 (v) Assistants
102 (vi) Properties
103 V. Schools of Conjuring
105 VI. The Legitimate Use of Apparatus
107 9. Production, Part Four
107 I. Action
109 II. Sound
109 (a) Speech - Delivery of Patter
111 (b) Silent Presentation
112 III. Music
113 IV. Sound Effects
115 10. The Critic
115 I. Constructive Criticism
117 II. Objects of Criticism
119 III. Exposure
121 IV. Magic and Music
122 V. Exposing Minor Effects
123 VI. Exposing Sleight-of-Hand and Stage Magic
124 VII. Immunity of the Artist
125 VIII. Better Conjuring
127 IX. Mediums of Exposure
130 X. Conclusion
