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Luke Jermay - Bizarre
Bizarre;
bi·zarre (b-zär) adj.
Strikingly unconventional and far-fetched in style or appearance; odd;
fantastic; whimsical; extravagant; grotesque. See Synonyms at fantastic.
The Webster Online Dictionary Definition of the word Bizarre
Strikingly unconventional, an interesting definition but possibly the curse
of bizarre magick. I personally feel the lines that define the every nature of
the umbrella term  Bizarre Magick need to be redrawn and given serious
thought in order to fit into a modern performers repertoire.
Personally I have very little room for skulls, daggers and robes within my
professional repertoire. Do not misunderstand me, I am in no doubt that
such a presentational slant can be performed with style and theatrical
grace, one need look no further than Rick Maue or the God that is
Christian Chelman to see so. I am simply setting fourth my own chosen
path, and thinking in an area which almost by its very nature is
indefinable.
To my mind the Bizarre performer need not steep himself in robes and
skulls in order to be strikingly unconventional or indeed to be seen as
performing the darker side of Magick. I at present have no effects within
my own  darker repertoire that involve the use of anything other than the
mind or body of a spectator, or the body of the performer and a few simple
props, such as a ring, an old nail etc.
I personally, and in my experience, feel that people associate skulls, and
such with children at Halloween and not with a person with otherworldly
knowledge or powers.
This is of course an area that needs thought anyway; exactly what do you
want to communicate to your audience? A question that the answer is of
much reward to.
My own personal goal within the performance of  Bizarre Magick is quite
simple. I wish to present as chilling a performance as is possible. To me
skulls and daggers simply are not at all unsettling to a modern audience. I
actively try to eliminate the  clutter of props in my presentations. I prefer
to employ simple and unsettling plots with simple and easy to follow
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movements without the added  clutter of ornate props. I also, as you will
see in the last item of the book, enjoy using a healthy amount of
suggestion; with a slightly darker angle the effect of such suggestion can
be very theatrical. The concept of  manipulation of a persons mind or
thoughts to me, and in my opinion to many modern audiences is far more
chilling than a fake skull with flashing eye sockets.
Allow me to outline this approach further. The above is said, assuming
you are not performing in the wondrous surroundings of your own
 Haunted Chamber or some such. In those cases, it is very possible to
perform and achieve the very goal I wish to achieve employing all the
paraphernalia of such a performance, skulls, dagger, alters etc.
I am approaching and developing material for the performer who is not
afforded the luxury of such surroundings. In my opinion it would be
highly unpractical for the performer hired to entertain in people s homes,
at for example a dinner party, to bring along his own surroundings needed
to create the correct type of atmosphere that a  Haunted Chamber
instantly offers.
To my mind simply removing an old skull and an old book from within a
weathered case does not have the effect on the spectators within their own
home that a creatively and artistically constructed  Haunted Chamber
has on its residents.
I personally strive for clean and simple methods to accomplish strikingly
unconventional effects, let us begin our journey with such an effect
involving nothing more than a ring that I call Blessed Be.
Effect:
At a gathering of friends and enemies a charming young lady sitting just
left of the performer enquires about the performer strange looking ring.
The performer explains the ring is in truth the ring of glory. A ring that has
been blessed to protect those who wear it. He explains that at first he
though this was nothing more than a fairy tale but this, no longer is the
case.
He offers to demonstrate exactly what changed his mind. He removes the
ring, explaining that;
 Once you wear it, it is almost impossible to remove it without opening up
old wounds
The performer removes the ring from his otherwise normal hand, he
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pauses, and turns his palm up, staring everyone boldly in the face is a half
healed scar.
The performer reassures everyone, that's there is nothing to worry about,
he quietly slips the ring back onto his finger, makes a fist, and with a
sharp and unexpected shudder, he opens his hand revealing the scar to
have once again disappeared.
 See what I mean?
The lady begins to wish she had never asked about the performers strange
item of jewellery.
Method and Preparation:
For this quick, and effective bizarre piece you will need to take a trip to a
theatrical make up store, or a good joke shop. You will need to get yourself
a fake scar. There are many cheaply available, that sadly look nothing like
a real scar, try to stay away from these, aim for something that looks very
real. It may be a good idea to find a theatrical make up store which supply
such things to Television Companies and Film Production. Many are easy
to track down using the dreaded Internet.
These theatrical fake scars have a very slightly  Tacky backing to them.
This makes it possible to attach and detach the scar at will.
The scar can also be handled very much like a small coin, in as far as
grips, palms and steals are concerned due to it s natural  stiffness . The
scar s movements will be described as if it were a coin, using standard
terms from coin magic.
Obtain a strange looking ring, personally I wear my own ring on my left
thumb the handling is described as if the ring were worn on the left thumb
but could just as easily be switched to which ever finger you wear a ring
on.
Begin with the ring worn on the left thumb. The fake scar begins in a
fingertip rest position. The tacky side of the scar is uppermost. You begin
by explaining the rings strange quality.
 This ring was actually a gift from a close friend who now lives in Mexico.
He actually bought it on his first trip there. When he gave me this gift he
explained it had been blessed, in such a way so as to protect the wearer
from harm, which at first I though was mere nonsense, but the more I
wear it, the more I come to believe that this maybe the case
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You now appear to remove the ring from your left thumb using your right
first finger and thumb. In truth you will under this action secretly load the
fake scar onto your left palm.
This load is done as follows:
The load is much like the standard action of a shuttle pass; it has the
same feel to it.
You will first turn your left palm down; simultaneously the right palm
turns upward the right fingers, which have the fake scar tacky side
uppermost on them, obscured from view by the right hand. The right first
finger and thumb grip opposite sides of the ring on your left thumb. The
right third and second fingers now give a firm but gentle push causing the
fake scar to adhere to the palm of your left hand.
You now slide the ring from your left thumb and grip it for all to see
between the right first finger and thumb. This flowing motion should take
little more than 10 - 20 seconds. It appears as if you simply removed the
ring from your left thumb.
You now turn the left palm upwards, explaining;
 You see it appears it is a very difficult, after wearing such a thing without
opening some old scars once again, after it is removed
Turn you left palm upward to display the scar which is now adhered to
your palm.
Explain there is nothing to worry about as, just as simply as it inflicted it
can be healed. You will now appear to replace the ring on your thumb and
in truth steal the scar from your palm.
This is accomplished rather simply. You will basically reverse the actions
you did before. Both hands moving in unison, you turn your left palm
down and your right palm upward. You will under the action of replacing
the ring on your thumb, scoop the scar onto you awaiting fingers.
You now, make a fist apparently around the scar seen moments before on
your palm. The right hand moves completely away, as the left hand moves
upward slightly.
Coordination of action ala Slydini ensures everyone's focus is in the right
place at the right time. Now make a simple shuddering movement with
your closed left fist. Open your hand to show the scar now apparently
healed.
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Notes:
It is worth the effort to find realistic false scar material. Without it the
whole thing becomes a joke. This is an effect I carry with me close to
everyday. I only use it when the mood is set, and often people question the
ring. Try to find something that does indeed look strange and as if it could
actually be  Blessed . This effect was inspired by a conversation with the
Rev. Craig Browning (clue in the title?) and something from Tony Ravens
Complete Invocation.
Divided By Hate.
Effect:
A rose is displayed and laid down on the table top. The performer begins
to recount a tale of the delicacy of life, and how hate can divide and
conquer all those around it.
The performer passes his hand above the rose, so as to cast a shadow over
the bud.
The rose then begins to visibly die. The rose continues to die until nothing
is left other than a shrivel and wilted dead flower.
A lasting testament to the power of hatred, and its ability to warp beauty.
Method:
This is an effect I have used in formal settings for a while now. The effect
is in my mind larger than the sum of its parts. I have several versions, I
will outline the version I use more often than any other.
This version is full of both psychical suggestion as well as psychological
suggestions. As so often is the case with Bizarre Magick the presentation
makes the effect. Do not sell it short.
You will need to go get your self a Rose. Pick a few Petals from the Rose
and place these in a Refrigerator until they are needed in performance, this
will ensure they remain  alive simply leave the remaining rose petals and
stem sitting around. It will in very short time die.
There are hardly any moves in the actual routine. You will however appear
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to pick two or three of the petal from the Rose, and hand them to a lady or
casually drop them to the floor.
There are several presentations open to you, plucking the petals is very
reminiscent of  she loves me, she loves me not and indeed forms the basis
for one of the presentations detailed but lets not run away with ourselves
just yet.
First let s look at exactly how the effect is accomplished on a psychical
level. You will, add the  alive petals to the  dead Rose, and simply lay
them on top of the rose until the performance. It is possible to hide this
rose within a bunch of roses, then when it is needed, pluck it from the
bunch and continue, however more often than not I simply have this rose,
with the live petals resting on top of the dead ones, covering the majority of
the dead petals awaiting me in my performance case.
On a psychical level all that happens is very simple...you will actually
appear to pluck a few petals from the rose while reciting the  she loves me
she loves me not poem, when in fact you are simply removing the few alive
petals.
This dead rose is then somewhat hastily placed onto the table, and you
cast a shadow over the rose itself.
This is an interesting point. The shadow actually helps to obscure the true
state of events. To the audience a live rose has been placed down onto the
table after having a few live petals torn from it, and drop onto the table top
which can still be seen.
The rest is now down to the script and the presentation. You will use
many suggestions to actually make some of the audience believe they can
see the rose visibly  dying on the table while in your shadow which is
covered in the script section of the explanation.
Script;
The words in bold are said with either a stronger or lighter tone to them,
depending on what works better for your own performance.
 Hate is a powerful emotion. Almost as powerful as Love.
(Plucking petals one for each  me )
 She hates me She hates me not, doesn t really have the same ring to it
does it?
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(Drop Petals to the table)
 She loves me, she loves me not, ah much better
(Plucking the final two  live petals from the otherwise dead rose)
 The only problem is Love and Hate are emotions that run closely
alongside one another both powerful emotions with the possibility to warp
and changes people, lives, cultures and even beliefs one alive and inherit
with beauty while the other sleeps lifeless and destroys all in it s path.
Hate can exist anywhere human life is seen to exist. It is how people deal
with this powerful and destructive emotion that really tests us
(Place the rose onto the table, the bud of the rose has been held cradled in
your palm during the above speech this helps to obscure the true
 deadness of the rose)
 She loves me, she loves me not, so often the case. But if love has the
power to heal, the Hate must be said to have the power to hurt
(Clinch Fist above the tabled Rose and then open hand once again, it
should appear as though you are exerting some kind of physical effort
suggesting something is due to happen )
 For hatred can make something so beautiful rot away until there is
nothing of beauty left. Can you see that?
(Enquire to a near by spectator)
 You can see just how powerful an emotion hate can be, destructive in it s
self and ultimately deadly. It can turn what was once beautiful into an
ugly lifeless rendition of what existed when it was shadowed by Love. If you
actually look closely you can see a once beautiful rose, becoming the ugly
victim of hate
(Here I move my hands closer to the rose on the table)
 Something once shadowed by Love, but now replaced by Hate, twisting
and contorting hatred draining away all the beauty until...
(Make a sharp shaking gesturer with your outstretched palm down hand)
 Nothing of it s former self exists
(Blow on the dead petals, they will now be seen to be dry and brittle,
remove your hand from above)
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 Truly hate is a destructive emotion
(Hand the Dead Rose to a spectator to finish)
Added Touches;
It is also possible to attach a length of Invisible Thread to the Rose, it will
then with a simple movement wiggle around on the table while your hand
is above the Rose. I use a length of thread running from a shirt button to
the rose. I attach the thread to the button simply with the use of
Magicians Wax after removing the rose from my case. This little touch
increases the visible quality to the effect and really does enhance the
routine.
It is also possible to after the rose itself is shown to be dead, to perform a
simple shuttle pass style switch with the four  live petals on the table,
switching them for four dead petals to finish. Personally I enjoy the
contrast they offer between the  Dead and  Alive petals and do not switch
them.
It is also interesting to note that a rose can house a  pocket of scent much
like the free samples that are given in many magazines. It is possible to
simply apply a liberal amount of a pleasant scent to a petal, which is then
placed directly in contact with another petal I then place an amount of the
scent again on this new petal. This is continued until all the  Live petals
are covered in a  nice scent. The scent is momentary looked with the
petals. I then apply a lesser pleasant smelling scent (typically vinegar) to
the rest of the dead Rose.
This is a very subtle change in scent and more often than not will not
actually be noticed on a conscious level, but does add a little something to
the  Death of the Rose.
A Twisted Palm Reading
This is a wonderful effect, even if I do say so myself. This is something I
use very regularly when performing in a darker mood.
Many deceptions are going on under the surface of the effect. On the
surface of the effect no trickery is possible as the effect uses nothing more
than the spectators hand. First let us examine exactly how A Twisted
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Palm Reading looks to your audience.
The performer offers to read a spectators palm; he does so, looking at the
lines, suddenly a look of surprise over takes his features.
He states that;
 your future is not set in stone, and in fact you have the true ability to
shift and warp what defines your very being
The performer instructs the spectator to look downward at their palm. He
asks them to tell everyone what they can see. The spectator replies;
 The lines of my palm are moving
The performer asks the spectator to be clearer with her statement she
replies;
 The lines are moving on my palm, they are shifting around and moving
The performer looks the spectator deeply in the eye, snaps his fingers and
thanks her for her help, she looks down, to a now perfectly normal palm.
Method;
This effect I am sure will be brushed aside as being completely unworkable
and not at all practical by all but the wise that is.
This effect is nothing more than scripting. There is no real deception at
work on a psychical level. The spectator actually ends up deceiving
herself, into believing she is seeing something she is not.
If you were to be so kind as to take a moment to stare intently at your own
palm, whilst thinking about the lines you see moving, warping and
twisting.
Take a moment to do this.
Right your back. So already you have begun to understand that there are
many advantages already at work in your favour.
It is an interesting visual illusion, that if you stare at a perfectly straight
line, in time it will begin to move in your vision. This is to do with the light
refracting in your iris as well as the distractions around your peripheral
vision.
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Now, if you were to apply this interesting visual illusion with some heavy
suggestion. It would indeed produce a wonderful effect. This effect will
vary, in my own experience it will never flat out fail, but the effect will
actually change with each spectator. I do try to ensure each and every
spectator is pushed as far as I can make the lines of their palms move in a
wild a way as possible but sadly it is not always the case. Occasionally
you will have to settle with the rest of the audience believing the lines are
moving wildly when in fact they are only moving slightly in the spectator s
vision. This is accomplished through the use of an interesting script.
Imagine we are joining the performer as he is offered a ladies palm, in
request of a palm reading.
Let us now examine this scripting in detail:
 Ok. It would seem you are an overtly critical person, to the point of
actually creating problems that did not already exist a perfectionist. It
would also appear that you are a fairly quiet person, but when the mood
strikes you, you can be the life and soul of the party
These are standard cold reading strategies I often begin with a  Forked
Barum Statement then go into more detail with a few quick  Rainbow
statements I develop this as far as is possible in the time I have, some
times offering a deeper reading than others. Now comes the beginnings of
the palm reading entering a slightly more twisted area.
 The thing is you have to remember you have the ability to shift and
change, your future is not set in stone, and in fact you have the true
ability to shift and warp what defines your very being.
If we look at your palm and all the lines taking their different meanings,
meanings that only you truly understand
This is the beginnings of the shifting lines process. This is something that
may happen very quickly in the eyes of the spectator or may happen
slowly. We will deal with these as they happen.
Continue;
 See the funny thing is, well...you can actually see the lines saying that
you control your future right now, I mean if you just look down and
concentrate for a few moments you will see what I mean
Really, just relax and look down, can you see those like I can? I mean are
they moving as clearly to you yet? 
The spectator may reply;
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 No nothing yet
In which case you need to add a few psychological extras in the method to
ensure the spectator begins to see the lines on her palm move. I
personally feel time, and silence are two of the most powerful tools in such
an effect as this.
If you simply allow the spectator some time, in silence to look at their
palm, and then continue on with the script, I think you will be surprised
with the pleasing results.
 Just tell me how are the lines moving now? In circles?
This is important, you do not ask them if the lines are moving or not, but
rather how they are moving, they have no choice in what to say. They are
forced to find an answer in the way you want them to.
 You can see them moving; swirling, turning, shifting and contorting just
as I did a moment ago can you not? But wait keep watching and tell me
exactly what you can see
Now you will cover the spectators hand with your own and continue;
 Look up at me. Now something really weird is going to happen, and I
mean really weird. All I have to do is this
At this point I lightly trace the shape of a cross on the spectators palm
with my forefinger.
 Look down now! You can see that cross right? How big is it?
Again you are forcing the spectator to answer in an affirmative way
regardless of what they can see. This is not always possible to make
people see. More often than not I find it possible to make people see a
cross on their palm, here again the silence and waiting rules apply also.
Simply wait until the spectator believes what you say is in fact what she
sees.
 You can see all those lines on your palm forming a cross staring you in
the face right? Now will you answer me one question?
This is the end of the sequence and it is important you break the
suggestion in some way I use the following tongue in cheek gag:
 You re not a Vampire are you? I mean if you are a Vampire and you see a
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cross well there is no telling what might happen, thanks very much you
were great, and remember you have the ability to change what is in front of
you, no one else.
This final statement serves the purpose of breaking a suggestion that some
may find a little worrying. It is hard to convey the exact sequence of
actions that take place in an actual live performance via the printed page
when dealing with such material.
Your commands and scripting need to suit your own style to work fully. I
suggest you take the script and play with it, exchanging parts for wording
that suits you best. I would not however suggest moving to far away from
the basic structure given.
* BONUS ROUTINE * BONUS ROUTINE *
What follows is an added bonus effect. Despite not being  Bizarre in its
presentation I have with great success fitted this into my set. What is
offered below is simply an addition to my good friend Steve Shaw's
wonderful effect PK Touches. Steve released his manuscript on this
wonderful effect and causes much uproar; it is truly a wonderful routine
that is worth ten times the amount you will pay for it.
I have used the following addition with great success. Imagine we are
joining the performance just after Steve Shaw s original PK Touches has
been performed; I then follow this up with the handling below.
PK Touches
Effect;
The performer asks a spectator to close his/her eyes. The performer then
moves forward and leans down to touch a spectator foot; he taps the
spectator foot twice.
He asks the spectator if they have felt anything, they reply;
 Taps
The performer enquires;
 How many and where?
The spectator replies;
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 Two on my left foot
Method:
This is obviously an outgrowth of Steve Shaw s PK Touches. I actually use
this effect after the original PK Touches effect to produce a powerful
sequence.
Positioning of the spectators;
Spectator One (who has closed eyes throughout the effect) is positioned
facing the audience directly behind (upstage) to you. If performing this to
follow Steve s original the other spectator is positioned to your right and
slightly forward to the other.
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.
Tapping of the Foot:
This is the hardest part of the effect. That said it is not at all difficult. It
however does require confidence and guts to perform with flair.
You will in appearance lean forward to touch a spectator on their foot. You
will in fact under the cover of leaning 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.
I am sure you will find yourself using this balancing position throughout
your normal everyday activities.
Now comes the actual visual and hidden tap. You will make 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 a spectator s foot 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. It is important you make a big
deal out of the visible tapping with the hand, on the spectator s foot. The
more visual this is, the harder it is for the audience to think you could
have somehow sneakily touched the spectators with closed eyes, foot.
Which is indeed true, it would be close to impossible to do so without
being seen.
Producing the Effect;
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When using this as a follow up to Banachek s PK Touches it is very easy to
produce the desired effect. Everyone is preconditioned as to what is to
happen, and it is simply happening in an even more amazing fashion. The
two sequences seem to fit together perfectly.
Luke Jermay: Bizarre