Magie Tricks

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Hier zeigen wir Euch magische 13 Zaubertricks bei denen Euren Zuschauern die Kinnlade herunterklappen wird. Alle Tricks sind extrem verblüffend. Wer schon immer wie der Magier David Copperfield zaubern wollte findet hier auch für sich den passenden Zaubertrick. Man muss nicht allzu geschickt sein um. Bei vielen Tricks muss man erst verschiedene Kartenmisch-Methoden üben. gezaubert hat findet vielleicht genau hier seinen Einstig in die Welt der Magie. Ein Zaubertrick lässt diesen Wunsch scheinbar zur Wirklichkeit werden. Für den Trick benötigt der Magier etwas Vorbereitung, zwei Geldscheine seiner Wahl. Viele Show-Magier bezeichnen sind dementsprechend auch nicht als Zauberer, Die einfachste Methode, diesen Trick durchzuführen, besteht darin, einen.

Magie Tricks

Beliebte 1-Trends in in Spielzeug und Hobbys, Sport und Unterhaltung, Verbraucherelektronik, Heim und Garten mit Professionelle Magie Tricks und 1. Geld Tricks. Wer immer schon mal Münztricks auf einer Party vorführen möchte, dem werden in diesem Video 3 einfache Tricks mit Münzen erklärt die mit etwas. Wer schon immer wie der Magier David Copperfield zaubern wollte findet hier auch für sich den passenden Zaubertrick. Man muss nicht allzu geschickt sein um. Magie Tricks

Magie Tricks - Mehr zum Thema

Er habe den Zuschauer hypnotisiert. Möglichkeit 2: Zwei Frauen Obwohl das Publikum nur eine Frau auf der Bühne zu sehen scheint, sind es tatsächlich zwei! Spezial Südtirol entdecken. Beliebte 1-Trends in in Spielzeug und Hobbys, Sport und Unterhaltung mit 10 Einfach Magie Tricks und 1. Entdecken Sie über unserer. Beliebte 1-Trends in in Spielzeug und Hobbys, Sport und Unterhaltung, Verbraucherelektronik, Heim und Garten mit Professionelle Magie Tricks und 1. Geld Tricks. Wer immer schon mal Münztricks auf einer Party vorführen möchte, dem werden in diesem Video 3 einfache Tricks mit Münzen erklärt die mit etwas.

Pick up the paper-covered cup to give your audience one last look at the ball. As you do, drop the cup into your lap inconspicuously and cradle it between your thighs.

Put the cup-shaped paper shell back over the ball and give it a smack. Remove the cloak to show that the ball is still there, but the cup has rematerialized beneath the table.

I think I hit it a little too hard. The ball is still here, but the cup went right through! Spin a straw around the top of a bottle using only your mind.

While no one is watching, take a paper-wrapped straw and rub your hand up and down its length a few times to generate static electricity. Be careful not to tear the thin paper wrapper.

When you're ready to do the trick, lay the straw across the top of a bottle or another container with a narrow opening, with its center point directly over the mouth.

Raise your hands over the ends of the straw and wave them forward and backward in a mystical manner. The static charge will cause it to rotate without you ever actually touching it.

If they get too far away, the charge will be too faint to continue moving it. If possible, perform the setup for this trick while your audience is absent or distracted such as when your dining companion excuses themselves to go to the restroom.

Method 2 of All rights reserved. This image may not be used by other entities without the express written consent of wikiHow, Inc.

Stand at a slight angle with your back to your audience. As casually as possible, make your way into a roughly diagonal stance with the heels of your feet pointed towards the audience and your toes pointed away from them.

Place both feet flat on the ground, side-by-side. This will make it appear like you ended up in your stance by chance.

This trick works best when performed in front of a stationary audience, who won't be able to move around to get a better look at your feet.

Caution your onlookers that levitating is an extremely difficult skill. Stress that you'll only be able to hold yourself up for a second or two, if at all.

When you're ready, hold your arms out to your sides slightly and take a few deep breaths to convey how hard you're concentrating.

Rock up smoothly onto the ball of the foot furthest away from the audience. Transition your weight onto the ball of your support foot fluidly while allowing the foot the audience can see to hover 1—2 inches 2.

Try to support yourself as far forward towards your toes as you can. If you do this just right, it will appear as though you've succeeded in levitating for a brief moment.

Lower yourself back down to the ground before your audience catches on. The idea is to give them just a quick flash of what's happening and leave them reeling with surprise.

By the time their minds begin processing what they've just seen, you'll have already moved onto your next trick or cleared the scene altogether.

Method 3 of Explain your objective to your audience as you set up the trick. If possible, move into a seated position and make sure that there's no one on either side of you.

Grab the coin in your dominant hand and announce to your onlookers that you're going to rub it right through the skin on your other arm.

You can use any type of coin you like, but something larger, like a quarter or half dollar, will generally be easier for your audience to see.

Begin rubbing the coin into your opposite arm. Rest the elbow of your decoy arm against the table with your hand pointed straight up.

Take the coin, press it against the fleshy part of your forearm, and start rubbing it back and forth. This will become important in the second stage of the trick.

Pretend to drop the coin onto the table. After rubbing for a few moments, let the coin slip out of your fingers and land in plain sight on the tabletop.

Got a little carried away there. This part is where the sleight of hand comes in, so you need to make it as believable as possible in order for the trick to be convincing.

Pick up the coin with your decoy hand and fake a pass to your other hand. This is where the illusion comes in. While you're apologizing to the audience, snatch up the coin with the hand of the arm you were just rubbing and make a quick motion indicating that you're passing it back to your rubbing hand, only don't actually pass it.

Instead, cup it in your palm and place your elbow back on the table. Use the finger-palm position, pressing into the edges of the coin with the sides of your index and pinky fingers.

It may take quite a bit of practice before you can fake the handoff without being obvious. Keep trying—it will eventually start to feel more natural.

Resume rubbing your arm with your empty hand. Get the trick back on track and continue massaging the coin into your elbow.

Let out a couple faint grunts or groans like the friction is causing you discomfort. Just a little more pressure Take your time with the second round of rubbing.

The longer you rub, the more certain your audience will be that the deception takes place in this phase of the trick. Remove your hand to reveal that the coin has disappeared.

When it comes time for the big payoff, stop rubbing suddenly and leave you hand glued to your arm for a moment longer.

Then, peel it off slowly and turn it around for your audience to see. There, they'll be faced with a fistful of nothing. I want to become a magician.

How can I find help with what to do to make it happen? Ask friends if they know anyone who likes to do tricks and check out YouTube videos that how many magic tricks performed and explained.

Find magic forums online to ask questions and learn from. Purchase a magic kit or set that comes with instructions to learn the basic tricks.

See further: How to Become a Magician. Not Helpful 33 Helpful You can do the vanishing coin trick with a matchbox. Measure one end of the matchbox, then cut it with scissors.

It's a double whammy with two revelations, which is why it's one of the best. This is another trick that requires a stacked deck, which you'll prepare ahead of time.

Once everything's in place, the trickery begins. There are a lot of steps, but the result and "How'd that happen?

It can be performed whenever you have two decks of cards and it has lots of comedic opportunities. Best of all, the ending is surprising with an inherent buildup.

The performance is simple: a spectator follows every move you make with your deck of cards, then you switch decks before choosing a card and memorizing it.

Once the trick is over, the secret is long gone and there is nothing for spectators to find. Learn an old-school magic trick and test your skills at tracking where everything's going.

While your spectator thinks he or she is randomly cutting cards, you know that he or she is going to leave an ace on top of each pile in the end.

The secret is that you've purposely placed the aces within the deck. You'll then walk him or her through strategic cuts, leading to the big reveal.

There are plenty of opportunities to add spectacle here, too. Just be sure you don't get distracted. The Rising Card Trick The rising card is a classic magic trick and it's another simple one that anyone can learn.

Make a Card Levitate Want to know the secret to levitating a playing card? Float and Spin a Card in Midair A black string is a magician's best friend, and did you notice that they almost always wear black clothes?

Continue to 5 of 16 below. The Floating Card Get ready to break the laws of gravity, at least in the eyes of people watching you. Float a Playing Card Levitation is so cool that you should have yet another way to float a card.

The Magnetic Hand Everyone will think you've magically turned your hand into a magnet for cards when you learn this trick.

The Spelling Card Trick This is one of the very best card magic tricks that a beginner can learn and perform. Continue to 9 of 16 below. Dowse for a Playing Card An interesting twist on the "find a card" game, "dowsing" for a card is fun and simple.

The Mind Read and Prediction Do you have the ability to read minds? Continue to 13 of 16 below. The Color Card Prediction When you want to play a few mind games with your friends, learn this easy magic trick.

The Best of Fives In this excellent beginner's trick, you not only find the spectator's selected card but somehow manage to locate the four aces.

Cutting to the Aces Learn an old-school magic trick and test your skills at tracking where everything's going. Related Topics. Read More.

That thumb thing is an age-old trick that you can do anytime, anywhere. In an instant, you seemingly pull your thumb apart and then put it back together again.

If you're an uncle or grandpa, you almost have to learn this trick to tease the kids. Learn how mysteriously segment a banana with the banana buster.

By executing an ultra-secret ninja move, you magically cause a banana to separate into pieces while it is still inside the peel. This trick is an easy one that only requires a little preparation.

And be sure that you're hungry so you can eat the banana when you're done. In the impassable corks trick, you hold two wine corks that are seemingly interlocked, and somehow pull the corks through each other.

It's a fast, visual trick that you can also perform with rolled dollar bills and other objects of roughly the same size as wine corks. In the rising ring trick, a ring that's threaded onto a rubberband mysteriously rises on its own accord.

This one is super easy and all you need is a rubber band and a ring. There's almost no preparation. In the jumping rubber band trick, a rubber band mysteriously jumps from your pinkie and ring fingers to the first and middle fingers of the same hand and then back again.

All you need is a rubber band. Like money? Some of the easiest magic tricks you can learn all involve coins and dollar bills.

These are great tricks to learn if you want to improvise something with a crowd and you can't access the other materials needed for the tricks above.

No matter where you are, someone has to have some change to spare. The Magnetic Hand. Continue to 5 of 18 below. The Color Changing Card.

The Levitating Ring. The Vanishing Toothpick. Continue to 9 of 18 below. The Rising Card. The Magnetic Pencil 2.

For example, a trick with three cups and balls has been performed since 3 B. For many recorded centuries, magicians were associated with the devil and the occult.

During the 19th and 20th centuries, many stage magicians even capitalized on this notion in their advertisements.

They were also used by the practitioners of various religions and cults from ancient times onwards to frighten uneducated people into obedience or turn them into adherents.

However, the profession of the illusionist gained strength only in the 18th century, and has enjoyed several popular vogues since.

Opinions vary among magicians on how to categorize a given effect, but a number of categories have been developed.

Magicians may pull a rabbit from an empty hat, make something seem to disappear, or transform a red silk handkerchief into a green silk handkerchief.

Magicians may also destroy something, like cutting a head off, and then "restore" it, make something appear to move from one place to another, or they may escape from a restraining device.

Other illusions include making something appear to defy gravity, making a solid object appear to pass through another object, or appearing to predict the choice of a spectator.

Many magic routines use combinations of effects. One of the earliest books on the subject is Gantziony's work of , Natural and Unnatural Magic , which describes and explains old-time tricks.

Among the tricks discussed were sleight-of-hand manipulations with rope, paper and coins. At the time, fear and belief in witchcraft was widespread and the book tried to demonstrate that these fears were misplaced.

During the 17th century, many similar books were published that described in detail the methods of a number of magic tricks, including The Art of Conjuring and The Anatomy of Legerdemain: The Art of Juggling c.

Until the 18th century, magic shows were a common source of entertainment at fairs , where itinerant performers would entertain the public with magic tricks, as well as the more traditional spectacles of sword swallowing , juggling and fire breathing.

In the early 18th century, as belief in witchcraft was waning, the art became increasingly respectable and shows would be put on for rich private patrons.

A notable figure in this transition was the English showman, Isaac Fawkes , who began to promote his act in advertisements from the s—he even claimed to have performed for King George II.

One of Fawkes' advertisements described his routine in some detail:. He takes an empty bag, lays it on the Table and turns it several times inside out, then commands Eggs out of it and several showers of real Gold and silver, then the Bag beginning to swell several sorts of wild fowl run out of it upon the Table.

He throws up a Pack of Cards, and causes them to be living birds flying about the room. He causes living Beasts, Birds, and other Creatures to appear upon the Table.

He blows the spots of the Cards off and on, and changes them to any pictures. From to , Jacob Philadelphia performed feats of magic, sometimes under the guise of scientific exhibitions, throughout Europe and in Russia.

He transformed his art from one performed at fairs to a performance that the public paid to see at the theatre. His speciality was constructing mechanical automata that appeared to move and act as if alive.

Many of Robert-Houdin's mechanisms for illusion were pirated by his assistant and ended up in the performances of his rivals, John Henry Anderson and Alexander Herrmann.

John Henry Anderson was pioneering the same transition in London. His success came from advertising his shows and captivating his audience with expert showmanship.

He became one of the earliest magicians to attain a high level of world renown. He opened a second theatre in Glasgow in Towards the end of the century, large magic shows permanently staged at big theatre venues became the norm.

The show incorporated stage illusions and reinvented traditional tricks with exotic often Oriental imagery. The potential of the stage was exploited for hidden mechanisms and assistants, and the control it offers over the audience's point of view.

Maskelyne and Cooke invented many of the illusions still performed today—one of his best-known being levitation. The model for the look of a 'typical' magician—a man with wavy hair, a top hat, a goatee, and a tailcoat—was Alexander Herrmann — , also known as Herrmann the Great.

Herrmann was a French magician and was part of the Herrmann family name that is the "first-family of magic". The escapologist and magician Harry Houdini took his stage name from Robert-Houdin and developed a range of stage magic tricks, many of them based on what became known after his death as escapology.

Houdini was genuinely skilled in techniques such as lockpicking and escaping straitjackets, but also made full use of the range of conjuring techniques, including fake equipment and collusion with individuals in the audience.

Houdini's show-business savvy was as great as his performance skill. There is a Houdini Museum dedicated to him in Scranton, Pennsylvania.

The Magic Circle was formed in London in to promote and advance the art of stage magic. As a form of entertainment, magic easily moved from theatrical venues to television specials, which opened up new opportunities for deceptions, and brought stage magic to huge audiences.

Most television magicians perform before a live audience, who provide the remote viewer with a reassurance that the illusions are not obtained with post-production visual effects.

Many of the principles of stage magic are old. There is an expression, "it's all done with smoke and mirrors", used to explain something baffling, but effects seldom use mirrors today, due to the amount of installation work and transport difficulties.

For example, the famous Pepper's Ghost , a stage illusion first used in 19th-century London, required a specially built theatre.

Modern performers have vanished objects as large as the Taj Mahal, the Statue of Liberty, and a space shuttle, using other kinds of optical deceptions.

Stage illusions are performed for large audiences, typically within a theatre or auditorium. This type of magic is distinguished by large-scale props, the use of assistants and often exotic animals such as elephants and tigers.

Famous stage illusionists, past and present, include Harry Blackstone, Sr. Parlor magic is done for larger audiences than close-up magic which is for a few people or even one person and for smaller audiences than stage magic.

In parlor magic, the performer is usually standing and on the same level as the audience, which may be seated on chairs or even on the floor.

According to the Encyclopedia of Magic and Magicians by T. Waters, "The phrase [parlor magic] is often used as a pejorative to imply that an effect under discussion is not suitable for professional performance.

A better term for this branch of magic may be "platform", "club" or "cabaret". Close-up magic or table magic is performed with the audience close to the magician, sometimes even one-on-one.

It usually makes use of everyday items as props, such as cards see Card manipulation , coins see Coin magic , and seemingly 'impromptu' effects.

This may be called "table magic", particularly when performed as dinner entertainment. Escapology is the branch of magic that deals with escapes from confinement or restraints.

Harry Houdini is a well-known example of an escape artist or escapologist. Pickpocket magicians use magic to misdirect members of the audience while removing wallets, belts, ties and other personal effects.

It can be presented on a stage, in a cabaret setting, before small close-up groups, or even for one spectator.

Mentalism creates the impression in the minds of the audience that the performer possesses special powers to read thoughts, predict events, control other minds, and similar feats.

This genre of stage magic has been misused at times by charlatans pretending to actually be in contact with spirits. Children's magic is performed for an audience primarily composed of children.

It is typically performed at birthday parties, preschools, elementary schools, Sunday schools or libraries. This type of magic is usually comedic in nature and involves audience interaction as well as volunteer assistants.

Online magic tricks were designed to function on a computer screen. The computer essentially replaces the magician. One such online magic trick, called Esmeralda's Crystal Ball, [15] became a viral phenomenon that fooled so many computer users into believing that their computer had supernatural powers, that Snopes dedicated a page to debunking the trick.

Mathemagic is a genre of stage magic that combines magic and mathematics. It is commonly used by children's magicians and mentalists.

Corporate magic or trade show magic uses magic as a communication and sales tool, as opposed to just straightforward entertainment.

Corporate magicians may come from a business background and typically present at meetings, conferences and product launches.

They run workshops and can sometimes be found at trade shows, where their patter and illusions enhance an entertaining presentation of the products offered by their corporate sponsors.

Pioneer performers in this arena include Eddie Tullock [17] and Guy Bavli. Gospel magic uses magic to catechize and evangelize.

Gospel magic was first used by St. John Bosco to interest children in 19th-century Turin , Italy to come back to school, to accept assistance and to attend church.

Street magic is a form of street performing or busking that employs a hybrid of stage magic, platform and close-up magic, usually performed ' in the round ' or surrounded by the audience.

Notable modern street magic performers include Jeff Sheridan and Gazzo. Since the first David Blaine TV special Street Magic aired in , the term "street magic" has also come to describe a style of 'guerilla' performance in which magicians approach and perform for unsuspecting members of the public on the street.

Unlike traditional street magic, this style is almost purely designed for TV and gains its impact from the wild reactions of the public.

Magicians of this type include David Blaine and Cyril Takayama. Bizarre magic uses mystical , horror , fantasy , and other similar themes in performance.

Bizarre magic is typically performed in a close-up venue, although some performers have effectively presented it in a stage setting. Charles Cameron has generally been credited as the "godfather of bizarre magic".

Others such as Tony Andruzzi have contributed significantly to its development. Shock magic is a genre of magic that shocks the audience.

Sometimes referred to as "geek magic", it takes its roots from circus sideshows , in which 'freakish' performances were shown to audiences.

Common shock magic or geek magic effects include eating razor blades, needle-through-arm , string through neck and pen-through-tongue.

Comedy magic is the use of magic in which is combined with stand-up comedy. Quick change magic is the use of magic which is combined with the very quick changing of costumes.

Camera magic or "video magic" is magic that is aimed at viewers watching broadcasts or recordings. It includes tricks based on the restricted viewing angles of cameras and clever editing.

Camera magic often features paid extras posing as spectators who may even be assisting in the performance. Camera magic can be done live, such as Derren Brown 's lottery prediction.

Classical Magic is a style of magic that conveys feelings of elegance and skill akin to prominent magicians of the nineteenth and twentieth centuries.

Mechanical magic is a form of stage magic in which the magician uses a variety of mechanical devices to perform acts which appear to be physically impossible.

Examples include such things as a false-bottomed mortar in which the magician places an audience member's watch only to later produce several feet away inside a wooden frame.

This form of magic was popular around the turn of the 19th century— today, many of the original mechanisms used for this magic have become antique collector's pieces and may require significant and careful restoration to function.

Magicians describe the type of tricks they perform in various ways. Opinions vary as to how to categorize a given effect, and disagreement as to what categories actually exist.

For instance, some magicians consider "penetrations" a separate category, while others consider penetrations a form of restoration or teleportation.

Some magicians today, such as Guy Hollingworth [21] and Tom Stone [22] have begun to challenge the notion that all magic effects fit into a limited number of categories.

Among magicians who believe in a limited number of categories such as Dariel Fitzkee , Harlan Tarbell , S. Sharpe , there has been disagreement as to how many different types of effects there are.

Some of these are listed below. For example, in " cups and balls " a magician may use vanishes, productions, penetrations, teleportation and transformations as part of the one presentation.

The methodology behind magic is often referred to as a science often a branch of physics while the performance aspect is more of an art form.

Dedication to magic can teach confidence and creativity, as well as the work ethic associated with regular practice and the responsibility that comes with devotion to an art.

Reach down with both hands to pick up the coin, but secretly use the hand you originally tucked under your chin to pick it up.

Tuck that hand under your chin again and continue rubbing your other hand into your elbow for a few seconds.

After a while, open your hand and reveal that the coin is gone! Second, try making a coin disappear and reappear using props. First, gather your materials.

You will need a wine glass, a coin, a cloth, 2 sheets of construction paper of the same color, scissors, a pencil, and a glue stick.

Next, carefully trace the mouth of the wine glass over one piece of construction paper. Neatly cut out the circle. Line a small amount of glue around the mouth of the glass and gently secure the cut out circle on top, trying to line up the edges perfectly.

After the glue dries, set up your magic trick! Place the coin and wine glass upside down on top of the other piece of construction paper.

Now, you are ready to perform the magic trick. Begin by covering the entire glass with the cloth. Then, pick up the glass and set in on top of the coin.

Remove the cloth, and the coin has disappeared! Then, make the coin reappear by covering the glass with the cloth again.

Lift the glass together with the cloth and the coin has reappeared! Did this summary help you? Yes No. Please help us continue to provide you with our trusted how-to guides and videos for free by whitelisting wikiHow on your ad blocker.

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Article Summary. Method 1 of Make a quarter vanish into thin air. Place a quarter in the palm of your dominant hand and tell your audience that you're going to make it disappear.

Make sure it's resting right in the center of your middle and ring fingers—this will allow you to secretly cup the edges using your index and pinky fingers.

Quickly pass your dominant hand over your opposite hand as though you've transferred the quarter, then let your dominant hand, which is still palming the coin, fall to your side.

Open your empty hand and savor the look on your audience's faces as they try to figure out where the quarter went! The disappearing quarter is one of the oldest tricks in the book, which means many people already know how it's done.

If you really want to impress them, you may need to pull out a lesser-known trick. Bend and re-straighten any spoon instantly.

Hold the spoon upside down with the head pressed against a table or similar surface and act like you're gripping the handle firmly in both fists.

Instead of actually wrapping your hands around the spoon, loop the pinky finger of your bottom hand around the point on handle directly above the head and keep the rest of your fingers poised just in front of the handle, along with your entire top hand.

Push both fists down towards the tabletop as though you're bending the spoon by force while slowly lowering the handle to a horizontal angle.

Finish the trick by quickly reversing the motion and magically restoring the spoon to its original shape. Be sure to sit or stand head-on to your audience when performing this trick.

If someone is watching from the side, they may be able to see what you're doing. Make a pencil float in the palm of your hand. This one is as easy as can be—just clutch a pencil in one fist with the back of your hand facing the audience, then grab your wrist with your opposite hand like you're bracing yourself for a great effort.

Without attracting attention, slowly outstretch the pointer finger of your support hand and use it to pin the pencil to your palm as you open your fist.

When done correctly, it will look like the pencil is hovering in front of your hand. Pass an ordinary piece of paper around your body.

Bet your skeptical audience that you can cut a hole in a normal piece of typing paper large enough to step through. Then, rotate the paper degrees and cut along the midline of each strip you just cut from the opposite side, again stopping just short of the far edge.

Finally, cut through each folded crease individually and open up the paper to reveal an impossibly-large paper portal that you can slip right through.

If you do, you'll end up losing your own bet! Though it may seem like genuine magic, this trick has a simple explanation: cutting the strips in such a careful way rearranges the surface area of the paper so that it's essentially one big outline.

Place the cup upside down over the ball, then mold the paper around the cup so that it covers it completely. Pick up the paper-covered cup to give your audience one last look at the ball.

As you do, drop the cup into your lap inconspicuously and cradle it between your thighs. Put the cup-shaped paper shell back over the ball and give it a smack.

Remove the cloak to show that the ball is still there, but the cup has rematerialized beneath the table. I think I hit it a little too hard.

The ball is still here, but the cup went right through! Spin a straw around the top of a bottle using only your mind. While no one is watching, take a paper-wrapped straw and rub your hand up and down its length a few times to generate static electricity.

Be careful not to tear the thin paper wrapper. When you're ready to do the trick, lay the straw across the top of a bottle or another container with a narrow opening, with its center point directly over the mouth.

Raise your hands over the ends of the straw and wave them forward and backward in a mystical manner.

The static charge will cause it to rotate without you ever actually touching it. If they get too far away, the charge will be too faint to continue moving it.

If possible, perform the setup for this trick while your audience is absent or distracted such as when your dining companion excuses themselves to go to the restroom.

Method 2 of All rights reserved. This image may not be used by other entities without the express written consent of wikiHow, Inc.

Stand at a slight angle with your back to your audience. As casually as possible, make your way into a roughly diagonal stance with the heels of your feet pointed towards the audience and your toes pointed away from them.

Place both feet flat on the ground, side-by-side. This will make it appear like you ended up in your stance by chance. This trick works best when performed in front of a stationary audience, who won't be able to move around to get a better look at your feet.

Caution your onlookers that levitating is an extremely difficult skill. Stress that you'll only be able to hold yourself up for a second or two, if at all.

When you're ready, hold your arms out to your sides slightly and take a few deep breaths to convey how hard you're concentrating. Rock up smoothly onto the ball of the foot furthest away from the audience.

Transition your weight onto the ball of your support foot fluidly while allowing the foot the audience can see to hover 1—2 inches 2.

Try to support yourself as far forward towards your toes as you can. If you do this just right, it will appear as though you've succeeded in levitating for a brief moment.

Lower yourself back down to the ground before your audience catches on. The idea is to give them just a quick flash of what's happening and leave them reeling with surprise.

By the time their minds begin processing what they've just seen, you'll have already moved onto your next trick or cleared the scene altogether.

Method 3 of Explain your objective to your audience as you set up the trick. If possible, move into a seated position and make sure that there's no one on either side of you.

Grab the coin in your dominant hand and announce to your onlookers that you're going to rub it right through the skin on your other arm.

You can use any type of coin you like, but something larger, like a quarter or half dollar, will generally be easier for your audience to see.

Begin rubbing the coin into your opposite arm. Rest the elbow of your decoy arm against the table with your hand pointed straight up. Take the coin, press it against the fleshy part of your forearm, and start rubbing it back and forth.

This will become important in the second stage of the trick. Pretend to drop the coin onto the table. After rubbing for a few moments, let the coin slip out of your fingers and land in plain sight on the tabletop.

Got a little carried away there. This part is where the sleight of hand comes in, so you need to make it as believable as possible in order for the trick to be convincing.

Pick up the coin with your decoy hand and fake a pass to your other hand. This is where the illusion comes in. While you're apologizing to the audience, snatch up the coin with the hand of the arm you were just rubbing and make a quick motion indicating that you're passing it back to your rubbing hand, only don't actually pass it.

Instead, cup it in your palm and place your elbow back on the table.

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