LUKE JERMAY PDF
by Luke Jermay (PDF).pdf - Ebook download as PDF File .pdf) or read book online. Luke Jermay - DOWNLOAD PDF - MB. Share Embed Donate. Report this link. Short Description. Luke Jermay - CREATED & WRITTEN BY. Luke Jermay. EDITED BY. Tara Whittaker. Andi Gladwin. PHOTOGRAPHY. George Luck. custom-speeches.com
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You'll be able to download the PDF in your MyPenguinMagic area. Color Conscious by Luke Jermay (PDF) This is a fun routine you can do at the table during. Luke Jermay, consultant for Criss Angel's Mind Freak show and Derren Brown's Tricks of the Mind has just released a piece from his personal repertoire. Products 1 - 10 of 10 Luke Jermay: (March 7th, -)Luke Jermay was raised in a small city just outside of London, England. Jermay has been performing his.
A show dedicated not to big boxes and dancing girls but to the amazing capacities of the human mind. Allowing his audience to be as much the show as they are a part of it. With a deep love of theatrical presentations and a desire to apply his new cutting edge techniques, Luke pooled together his knowledge and developed a show that he could be suitably proud of.
Long runs at the Edinburgh Fringe and in London's West End met with huge acclaim from the press and theater goers alike. As a result, invitations began flooding in from all angles: Luke was also asked to tour in the USA and ended up performing to packed venues across 15 states. Luke began to attract the attentions of other performers very quickly and was invited to join several performers in their creative process as a consultant and director. To name but a few Derren Brown, Criss Angel, Marco Tempest and many others have all relied on Jermay when they needed fresh insight and focused creation in their television specials and live performances.
Jermay has become a name top performers rely on for fresh, compelling and modern demonstrations for sophisticated audiences. Jermay took the decision to make a transatlantic move from his native UK to the entertainment capital of the world Las Vegas where he now makes a home with his wife Rachel. After this relocation Jermay took one year off from working. Jermay spent that year re-designing his successful UK show aiming it for a US market. With this came a period of reflection on a genre of mystery performance Jermay had created.
After several rewrites and additions Jermay looked back at his show and saw a bright new direction. Theater Of The Mind was borne from this reflection and process of re-designing.
Luke now divides his time between his theater performances as well as exclusive private engagements as well as working in an advisory capacity for TV and theater projects across the globe. Login Checkout Cart Topic. The Weekly Forecast By Peter Turner The performer leaves his client with a sealed envelope to hold claiming it is a prediction that will be of the utmost importance during the show in a week's time.
He leaves the client with this set of instructions: The client is to choose any paper or magazine that week, to look at any headline and to From the introduction: To the mentalist, Memory Systems are indispensable; they are part of his equipment and the means whereby he can be called upon to perform at any time — and give an impressive demonstration.
They are the best type of equipment you can have, as there is nothing to carry and no apparatus to prepare. The skill lies in the training of the mind, in conditioning the mind to operate to maximum The Tossed Out Deck is an extremely popular and possibly the best neo-classical plot in mentalism.
I, myself, have used the Tossed Out Deck effect to open many stand-up performances, and feel it is genuinely one of the best opening routines for a performance. It packs The routines that are described in this ebook are a departure from the norm. The first is an examination and fresh approach to the living and dead test.
This is a routine that Luke has actually never seen performed.
He does not know of any mentalist currently working who uses this routine and he must confess that in the course of a year, he only performs this effect a handful of times. Presenting this routine requires you to exercise your own judgment in when and where is right. With that said, the method contained within this manuscript presents a new method and a new approach to the construction In the Rubik's Cube craze swept across Europe.
Recently Rubik's Cube has seen a sort of revival and one can find them again more frequently in toy stores and as corporate give-aways. This is a remarkable routine combining a Rubik's Cube effect with a magic square effect.
This cube is mixed until the spectator is happy that there could be no possible way of predicting the mixture of the cube. The cube is then handed to the performer. The helper is then asked to mark the paper with a bold X representing the area of the body they wish to harm. This sheet of paper is then rolled firmly and placed in full view standing in the neck of the wine bottle, as a new attractive centre-piece with a soon to be macabre story to accompany it.
They are also requested that they close their eyes to help focus their mind upon the feelings and the image they have. The would-be witch doctor asks both the victim and the helper to open their eyes. The performer asks the helper where she marked the X.
Suddenly, he then grabs the slightly dazed guest who was responsible for drawing the X by both wrists with a firmness that was not expected. He stares deeply into her eyes and suddenly begins to describe in detail the time she had been so consumed with hate. Without warning he allows the charming woman's arms to tumble back to her side and makes a hasty exit.
The other guests all agree that he was definitely not the best person to invite to the wake after all… page 76 Method: Please excuse the somewhat impassioned write up of this dramatic piece. I felt it worthy of some kind of theatrical staging in the writing, as it is such a huge part of the effect — this, without the correct performance, will not work - however with a strong performance delivered with conviction I think this can be something really quite chilling.
The bare bones of the actual method are surprisingly simple. What makes this effect play is the appearance to the audience at large that only an X was written and the information you relay describing the event was purely being thought of and had not been recorded anywhere. This is in actual fact not true, as on the page along with the outline of the body is also a checklist of sorts consisting of three titles: Where, When, Why.
I draw a thick black line above and below the writing forming something of a box for the spectator to write within. The checklist and lines are not written during the performance only the body outline is - this is then taken by the impression device.
The spectator fills in the X on the page and due to the way you word the presentation they understand they are to fill in the details on the page as well. Obviously the position of the X and the other information is thus known via the impression device. The reason for tearing the page at the conclusion is to destroy the evidence of the written information.
How you get the glimpse of the impression is really up to you. I page 77 simply a use second sheet of paper and during the effect draw the outline, placing the X on the correct part of the body. It appears as though you have predicted the position of the X, although actually you are only making a prediction in order to get your glimpse! I hand this out to a member of the group, and then move onto the revelation of the spectator feeling the taps.
I am sure many of you reading are well ahead of me on the method at work here. It is simply a modified version and new presentation for my good friend Banachek's wonderful PK Touches.
I then close the sequence with the revelation of the information written. I sometimes use this effect after the original PK Touches effect to produce a powerful sequence. Let us first deal with the positioning of the spectator who will secretly be touched. Positioning of the spectators: Spectator One who has closed eyes throughout the effect is positioned facing the audience directly behind upstage to yourself. If you are not using the original PK Touches you will not need the second spectator, as you will appear to only touch a member of the front row of your audience.
You will appear to lean forward, bending at the knees to reach down and touch a spectator on their foot. You will in fact need to lean all your weight on your left foot, which is positioned slightly more forward than your right foot. This will naturally allow your right foot to leave the floor. This is simply a matter of balance. You will now be bending very slightly at the knees, leaning all your weight on your left foot. The right foot now leaves the floor slightly as your entire body moves toward the foot of a spectator.
The best way to describe this is to imagine you were picking something up from the floor, bending at the waist and slightly at the knees.
One foot takes all the weight, and the other leaves the floor slightly. This is a very natural position and something that does happen naturally when you bend at the waist and the knees slightly. Now come the visual and the hidden touches.
You will make a page 79 large gesture with your right hand, moving your entire right arm, and forming a pointing first finger with your hand. Move this hand in a wide arch and in a swooping action come forward and tap the foot of a spectator sat in the front row. It is under this cover that the raised right foot contacts the foot of the spectator with their eyes closed on stage.
Which is indeed true, it would be close to impossible to do without being seen. They are then asked to open the book at the page number they have in mind and then tightly close their eyes. They are told to open their eyes and allow their vision to focus on just one word, and then close the book.
The performer then asks the spectator to consciously focus on the feelings they experience from hereon in. The performer then instantly reveals the word. Method: This is a really interesting, if somewhat time consuming to prepare, book test. You will need to obtain a cheap paperback book and a good quality pencil eraser. You do not remove the ink completely but rather make it less visible. You will find that with little pressure the ink on the pages will become lighter in tone.
I leave one page number untreated. Darker and easier to see. This allows you to make use of the well-known psychological card force using the book. Most often seen with a pack of cards in which you hesitate slightly on one playing card allowing it to be seen for a split second longer than the others, this force is now possible with the book.
You need no breaks or separations in the pages of the book and there is no need for a long hesitation - a very slight pause will do. Now comes to the forcing of the word. On the untreated numbered page you need to select a word roughly central in the page. One word on the page will stand out as did one page number.
The force of this word is really fairly simple. You will request first the spectator remembers one page number as they fly past. Thanks to the prep work on the book earlier this will be the force page.
Allow the book to close fully and hand it to the spectator. Then hold it open and firmly close your eyes. I would then like you to allow yourself to feel relaxed.
I would like you to see one word that is very clear to you, one that catches your attention.
Then close the book and drop it onto the floor in front of you. I have the spectator drop the book to ensure they do not look at other pages.
All that remains now is to reveal the word in your own choosing. This is closely linked to Barrie Richardson's thinking in his newspaper test as mentioned in the introduction to this effect. The Burst Bubble Suggestion Now comes the part of the routine that is really fun to perform. This will use almost all the techniques we have already outlined. It will however take some work to become fluid for you. However as I have already stated you cannot fail in this kind of routine as you still have the revelation of the word to fall back upon.
I know that sounds strange and it will actually feel a little odd as page 84 well.
We are going to make that thought travel from your mind into mine, but we need to make some kind of physical contact to do this so just point your finger at me. How strange is that? It just kind of pops right out of your head right? To the audience it appears as if the spectator actually felt the word go - this will more often than not be true - the spectator will feel something, however if they do not you still have the revelation of the word.
Credits: Credit must go to a few people for the inspiration for method of the book test. This is placed in the safe keeping of a spectator who takes it to the back of the room, away from the performer. The performer explains that at various times in history ice has been a very precious commodity. He borrows a ring from a spectator and asks a second spectator to examine the ring and really pay attention to it, because in a moment he will need to be able to recognize it once again.
The performer takes the ring back from the spectator and makes a fist around it, recounting a specific tale about the value of ice. He asks the first spectator to think about the first time she saw her ring, then he dramatically opens his hand to reveal the ring has vanished.
The performer, without going anywhere near the box held by the spectator at the back of the audience, asks him to open it and tell everyone what he finds inside. He tells everyone that it is the vanished ring, but it is sealed in ice! The spectator breaks apart the ice and confirms it is the very same ring he saw.
It is then given back to its owner, still icy cold. Method: This really is a stunning routine when used in the right setting.
It is a parlour routine and in that context plays perfectly. In essence you will borrow a ring from a spectator on your right side, and in the action of walking to show the ring to a spectator on your left side, you will switch the ring for another ring. The ring, of which you already have a duplicate of sealed in the box, is then examined thoroughly and remembered by the spectator. When he finds the ring in the box, as far as he is concerned it is the very same ring.
Which in truth it is - the ring is the same as the ring he examined. It is, however, not the ring that was lent to you in the first place. I take no risks when using this routine.
I borrow a ring from a spectator on the far right of the first row. Then I move to the far left of the row and switch the ring and give it to the spectator on the far left of the first row.
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This allows me not only plenty of time to switch the ring but plenty of cover to mask the dual reality deception. The box is handed out at the very beginning of the effect to a spectator at the very back of the audience. I like having the spectator walk to the back of the room as it seems to add impact to the effect - it shows the exact distance that the ring has traveled and obviously you have gone nowhere near the box nor indeed had the opportunity to.
This is all there is to the method. A routine such as this needs a strong presentation. Let us now look at the one indicated above.She will too remain silentand have a very confused searching look about her face.
I finish the effect by wrapping everything up as follows: No Downloads. I use something calledthe Silent Script. You identify the cards as "red" or "black" simply by waving your fingers underneath the cards If they can't be bothered to edit it properly, I can't be bothered spending my money.
He borrows a ring from a spectator and asks a second spectator to examine the ring and really pay attention to it, because in a moment he will need to be able to recognize it once again.
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