"Strange ceremonies": Creating imaginative spaces in bizarre magick

Research output: Contribution to journalArticle

Abstract

The Great God Pan (Raven, 1974) is a performance magic piece aimed at transporting the imagination of an audience out of the magician’s study (where the piece is set) and into fictional realms of fantasy and horror. This type of work is known as Bizarre Magick and is an underground form of performance magic. Many of the pieces in this genre borrow from popular horror fictions and seek to locate Fantastika in everyday physical locations through the creation of a charged sense of space where illusion is played as real. This article examines how these effects, through storytelling, intricate props, and often complex methods, allow practitioners to draw heavily on fictionalised histories of science fiction, horror and the supernatural to create site-specific “strange ceremonies” (Burger, 1991). These experiential theatrical pieces allow the magician (better described as the mage or sorcerer) to act as a facilitator guiding the guests/audience into imaginative spaces where fantastic fictions are made real. This article explores a number of these performance magic experiments and draws on the notion of the “paraxial” (Mangan, 2007) to examine how the performer relocates themselves and their audience in a performative grey area situated between illusion and reality.
LanguageEnglish
Pages54-63
Number of pages10
JournalThe Luminary
Issue number7
Publication statusPublished - 5 Sep 2016

Fingerprint

Fiction
Ceremony
Magic
Illusion
Magicians
Fantasy
Deity
Supernatural
History of Science
Experiment
Storytelling
Physical
Performer
Props
Science Fiction

Cite this

@article{970601aa0f0c47f689b70c326ed002ef,
title = "{"}Strange ceremonies{"}: Creating imaginative spaces in bizarre magick",
abstract = "The Great God Pan (Raven, 1974) is a performance magic piece aimed at transporting the imagination of an audience out of the magician’s study (where the piece is set) and into fictional realms of fantasy and horror. This type of work is known as Bizarre Magick and is an underground form of performance magic. Many of the pieces in this genre borrow from popular horror fictions and seek to locate Fantastika in everyday physical locations through the creation of a charged sense of space where illusion is played as real. This article examines how these effects, through storytelling, intricate props, and often complex methods, allow practitioners to draw heavily on fictionalised histories of science fiction, horror and the supernatural to create site-specific “strange ceremonies” (Burger, 1991). These experiential theatrical pieces allow the magician (better described as the mage or sorcerer) to act as a facilitator guiding the guests/audience into imaginative spaces where fantastic fictions are made real. This article explores a number of these performance magic experiments and draws on the notion of the “paraxial” (Mangan, 2007) to examine how the performer relocates themselves and their audience in a performative grey area situated between illusion and reality.",
keywords = "Performance magic, Magic, Experimental theatre",
author = "Nicholas Taylor",
note = "Dates taken from Eprints HN 04/09/2017",
year = "2016",
month = "9",
day = "5",
language = "English",
pages = "54--63",
journal = "The Luminary",
issn = "2056-9238",
number = "7",

}

"Strange ceremonies" : Creating imaginative spaces in bizarre magick. / Taylor, Nicholas.

In: The Luminary, No. 7, 05.09.2016, p. 54-63.

Research output: Contribution to journalArticle

TY - JOUR

T1 - "Strange ceremonies"

T2 - The Luminary

AU - Taylor, Nicholas

N1 - Dates taken from Eprints HN 04/09/2017

PY - 2016/9/5

Y1 - 2016/9/5

N2 - The Great God Pan (Raven, 1974) is a performance magic piece aimed at transporting the imagination of an audience out of the magician’s study (where the piece is set) and into fictional realms of fantasy and horror. This type of work is known as Bizarre Magick and is an underground form of performance magic. Many of the pieces in this genre borrow from popular horror fictions and seek to locate Fantastika in everyday physical locations through the creation of a charged sense of space where illusion is played as real. This article examines how these effects, through storytelling, intricate props, and often complex methods, allow practitioners to draw heavily on fictionalised histories of science fiction, horror and the supernatural to create site-specific “strange ceremonies” (Burger, 1991). These experiential theatrical pieces allow the magician (better described as the mage or sorcerer) to act as a facilitator guiding the guests/audience into imaginative spaces where fantastic fictions are made real. This article explores a number of these performance magic experiments and draws on the notion of the “paraxial” (Mangan, 2007) to examine how the performer relocates themselves and their audience in a performative grey area situated between illusion and reality.

AB - The Great God Pan (Raven, 1974) is a performance magic piece aimed at transporting the imagination of an audience out of the magician’s study (where the piece is set) and into fictional realms of fantasy and horror. This type of work is known as Bizarre Magick and is an underground form of performance magic. Many of the pieces in this genre borrow from popular horror fictions and seek to locate Fantastika in everyday physical locations through the creation of a charged sense of space where illusion is played as real. This article examines how these effects, through storytelling, intricate props, and often complex methods, allow practitioners to draw heavily on fictionalised histories of science fiction, horror and the supernatural to create site-specific “strange ceremonies” (Burger, 1991). These experiential theatrical pieces allow the magician (better described as the mage or sorcerer) to act as a facilitator guiding the guests/audience into imaginative spaces where fantastic fictions are made real. This article explores a number of these performance magic experiments and draws on the notion of the “paraxial” (Mangan, 2007) to examine how the performer relocates themselves and their audience in a performative grey area situated between illusion and reality.

KW - Performance magic

KW - Magic

KW - Experimental theatre

UR - http://www.lancaster.ac.uk/luminary/issue%207/index.htm

UR - http://www.lancaster.ac.uk/luminary/issue%207/The%20Luminary%20-%20Issue%207.pdf

M3 - Article

SP - 54

EP - 63

JO - The Luminary

JF - The Luminary

SN - 2056-9238

IS - 7

ER -