The art of magic captures the masses

At the beginning of the 20th century, the art of magic found another platform thanks to rapidly multiplying variety shows. The numerous patrons spurred the magicians on to ever more distinctive creations. The way the illusions were presented became increasingly important. The international expansion of the art led to the increased use of music as a substitute for speech. Among the celebrities of this generation were Okito, a Dutch magician, and Erik Weisz, alias Harry Houdini. Houdini was an escape artist and freed himself from shackles, straitjackets, handcuffs and nailed-up boxes in no time at all. It is no exaggeration to say that Houdini was one of the greatest and most influential illusionists in world history.

In the 1920s and 1930s, a new branch of magic became increasingly popular: mental magic. These new artists deliberately dispensed with devices and apparatuses. Mentalists use mathematical tricks and psychological knowledge to imply clairvoyance to audiences. One of the most famous mentalists of this time was the American Theodor Anneman.

In the 1950s and the beginning of the media age, a new type of illusionist emerged, leaving all mysticism behind and embodying a professional entertainer suitable for the masses. Among these magicians was Kalanag, whose real name was Helmut Schreiber. His perfect show was met with huge acclaim on three continents. Kalanag is the inventor of the magic words sim sala bim.

The magician Marvelli was a pioneer of television magic. From 1979 to 1980, the Marvelli Show was aired by German TV broadcaster ARD.

The most successful magician in mass media worldwide was David Copperfield. He is considered the most famous illusionist of our time. In his shows, he presents so-called grand illusions. Siegfried and Roy are also famous stars of this genre.

One example of the most modern form of magic is provided by Swiss magician Marco Tempest. He is a high-tech magician who only works with lasers, computers and the latest communication and electrical devices. With his sensational magic shows, he is an absolute crowd-puller at trade fairs such as CeBIT.

Despite all progress, the art of magic is still based on ancient principles. Even today, it is still about skilfully deceiving the human senses and creating illusions to fool the audience. The dexterity-based original form, the art of sleight of hand, still lives on...

Die Zauberkunst wird salonfähig

In the 18th and 19th centuries, the art of magic found its way into the salons of high society, variety shows and theatres. The previously practised sleight of hand and the display of curiosities developed into an art form that took place on the stage.

One of the most famous stage artists was Ludwig Döbler, who also performed magic for J. W. von Goethe.

Nepomuk Hofzinser was a very important developer of illusions and trick devices. He had all his devices destroyed after his death, and only through elaborate reconstructions was it possible to preserve some of his tricks for posterity.

Thanks to the magician scene of the time, the art of magic was considered chic, and the high society of the day enjoyed it. No longer content to remain spectators, many began to learn small magic tricks. Goethe, for example, gave his grandchildren one of the first magic kits for Christmas. He was an enthusiastic fan of the art of magic and wrote: “Especially in the presence of a small audience, sleight of hand is a marvellous means of practising public speaking and acquiring considerable physical and mental dexterity.”

Thanks to the stylish appearance of magicians and cleverly staged performances, magic reached ever larger sections of the population. An important figure in this development was Jean-Eugène Robert-Houdin, who opened his own magic theatre in Paris in the mid-19th century. He dispensed with the traditional costumes of conjurers and instead performed in tails and top hat. Thanks to his training as a watchmaker, he was able to manufacture many of his magical devices himself, the function of which, for the first time ever, was based on electromagnetism.

Due to his great success, Houdin was a role model for many magicians after him, including the Hungarian-born American Erik Weisz, who called himself Houdini in his honour.