By Sofie Lachapelle
Conjuring technological know-how explores the background of magic exhibits and medical leisure. It follows the frictions and connections of magic and technological know-how as they happened on this planet of renowned leisure in France from the mid-eighteenth to the early 20th century. It situates conjurers in the broader tradition of technology and argues that level magic shaped an immense renowned conduit for technological know-how and clinical enthusiasm in this interval. From the clinical recreations of the festivals to the grand illusions of the theatre level and the advance of early cinema, conjurers used and have been encouraged by means of medical and technological concepts to create illusions, impress a feeling of ask yourself, and sometimes even teach their viewers. of their fingers, technology took on many meanings and served various reasons: it used to be a suite of friendly proof and leisure demonstrations upon which to attract; it was once the information offered in a variety of clinical lectures followed through optical projections at magic indicates; it used to be the ideas essential to create illusions and results on level and afterward on the cinema; and it was once the way to separate conjuring from the deceit of mediums, mystical showmen and quacks so that it will achieve a greater status inside of an more and more scientifically-minded society.
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Additional info for Conjuring Science: A History of Scientific Entertainment and Stage Magic in Modern France
41 But at the Soirées fantastiques, these and other older tricks continued to enjoy a phenomenal success. In the fall of 1847, Robert-Houdin introduced a series of new acts to his Soirées fantastiques, including the ethereal suspension. In the tourist guide Cicerone, visitors to the city could read: “M. ”42 In February 1848, a popular uprising led to the fall of the July Monarchy (1830–1848) and the beginning of the Second Republic. In Paris, theaters were greatly affected by the turmoil. Rooms emptied as audiences stopped coming.
Their works tended to focus on spectacle and entertainment, offering little opportunity for learning. There were some exceptions, however. In the preface to G. B. 4 This chapter explores amusing physics and other forms of scientific amusements found in popular books and home boxes in their connections with magic tricks. Amusing physics was about amusing friends, family, and oneself with a few tricks that were clever, surprising, and impressive. Demonstrations of tricks were usually performed in a domestic setting.
It was in the last few years of the nineteenth century, under Méliès, that attendance at the theater dropped. Even before the real impact of cinema took effect, stage magic had already begun to change. At the Théâtre Robert-Houdin, a greater focus was paid to children in the audience. ”84 By then, the theater was facing harder times. ”86 Many shared this view. By the second half of the nineteenth century—with the public craze for scientific inventions and discoveries and with scientists themselves Science Meets Magic on Stage 35 adopting the language of wonder to describe new inventions—recreational physics became an integral part of magic shows.
Conjuring Science: A History of Scientific Entertainment and Stage Magic in Modern France by Sofie Lachapelle