University 

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Taylor, Nik

The Fairy Goblet of Eden Hall to Hunting Mammoths in the Rain ­ experiencing the paraxial 
through performance magic and mystery entertainment.

Original Citation

Taylor, Nik (2015) The Fairy Goblet of Eden Hall to Hunting Mammoths in the Rain ­ experiencing 
the paraxial through performance magic and mystery entertainment. In: Tales Beyond Borders, 24­
25 April 2015, The University of Leeds. (Unpublished) 

This version is available at http://eprints.hud.ac.uk/id/eprint/24343/

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The Fairy Goblet of Eden Hall to Hunting Mammoths in the

Rain - experiencing the paraxial through performance magic
and mystery entertainment.

Presented at Tales Beyond Borders, 24-25 April 2015, The University of Leeds

In this presentation I will be discussing the imaginative places performance magic

can take an audience. The magic I will be describing is odd and strange. The

magician is rarely called a magician; and the audience is rarely called an audience.

Terms such as guests or participants are more usual; with a mystery entertainer or

paranormal entertainer guiding them through their experience. As these imaginative

places are challenging to define, I will illustrate this presentation with some

examples of this kind of performance magic in practice. In magician parlance these

pieces are called, effects.

Firstly, I should clarify the kind of performance magic I am talking about here. I can

probably assume that most people here would have come across performance magic

in some form, and probably on TV, at a child’s party, at a wedding or, perhaps, even

live. Magicians such as Dynamo, Derren Brown, David Copperfield, Kris Angel – or

a little further back; Paul Daniels, Doug Henning or David Nixon might spring to

mind. However, in the wider ‘magic assemblage’ - a term coined by Simon During

(2002) - we can see that performance magic is a complex form with many genres and

sub-genres. Some of which are more visible than others; close-up, big box illusions,

mentalism, and con-games are forms you might be familiar with.

But in this presentation I am not talking about these. In this presentation I'm talking

about an all-together darker and perhaps dangerous form of performance magic. A

form that grew from the work of practitioners such as Masklyn ye Mage, Caleb

Strange, and ‘Doc’ Shiels. A form that came to be known as Bizarre Magick, although,
 2

as I have hinted at earlier, today it is more likely to be known as paranormal

entertainment or, in my opinion better, mystery entertainment. However, I will

continue to use the term Bizarre Magick for this presentation.

Bizarre Magick is an underground form of

performance magic that was initially

pioneered in the 1970s. The name itself,

Bizarre Magick, was first coined by Raven and

Shiels in the inaugural issue of the Invocation

in July 1974. Although experiments in this

form go further back this and I shall refer to these as the proto-bizarre. The genre
rose, according to Stephen Minch writing in 2009 ‘… wraithlike from the sod of two

specialised schools of magic: pseudo spiritism and mentalism’ (Minch, 2009, p.58).

Bizarre Magick effects and proto-bizarre effects often appear in a form where

through story-telling and complex staging the purest sense of a real magical

experience for the spectator is achieved. The effects I’ve chosen to illustrate this

discussion come from the both the proto-bizarre and the later modern bizarre. I will

attempt to fill in some of the gaps, but a key point here is that I am identifying and

discussing bizarre magick effects that have a strong experiential element for the

participants.

The first effect The Fairy Goblet [of Eden Hall] (Smith & Lyons, 1941) is an important

pre-cursor to the bizarre movement and a truly experiential piece. Similarly, the

later, Hunting Mammoths in the Rain (Strange, 2005, pp.3–13) takes the participants

on an experiential journey back to primal shamanism and real magic.

Let me describe them:

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The Fairy Goblet by Lew Smith and L.V. Lyons

(1941) relies on the careful construction of a

ritually charged atmosphere to create an

apparently real experience within the minds

of the audience. Based partly on the real

Luck of Eden Hall (now in the V&A). The

Fairy Goblet of Eden Hall is seen glittering and

glowing during a ritual in a ‘weird and uncanny manner’, and, in candlelight, the

guests are invited to form a circle and take part in an unusual experiment that is

neither;

auto suggestion, telepathy, nor spiritualism, but something which, as we

proceed, you will realize as being far beyond your imagination. (Smith &

Lyons, 1941, p.761)

The goblet is then solemnly introduced;

It is said that the wishes of the fairy queen are: that the past shall not be

forgotten, and therefore at the proper time by the wave of a magic wand

Queen Titania will bring back to the memory of whomsoever is looking

into the goblet, some memory of a past and forgotten event which never

again will be forgotten. (Smith & Lyons, 1941, p.792).

A traditional verse is recited and the ritual begins proper as each guest is invited to

step forward and experience what amounts to a vision of a past memory or emotion.

After this, an offer is made by the facilitator for the guest to share that memory with

the rest of the group. The performer/magician/facilitator is seen as sharing a gift that

allows the guest to take part in a piece of powerful experiential magic that is

designed to evoke strong emotions. As way of a warning, the editor of the Jinx
 4

(where the routine first appeared), Theodore Annemann, adds his own footnote to

the work, urging the reader not to be tempted to devalue the experience by adding

recognisable performance magic tropes, stating;

If you can't finish with something of a truly mysterious and oddly

accomplished miraculous nature please forget the whole thing and throw

these pages away. (Annemann, 1941, pp.762–763)

Sixty years later, we have Caleb Strange

publishing Hunting Mammoths in the Rain

(2005) where a group of participants, after a

day exploring an ancient ceremonial

landscape 'rich in stones and stories and

strangeness', suddenly find themselves

involved in dark, primal ritual. Standing now

in a space surrounded by ancient stones bearing megalithic cup and ring marks, they

are suddenly accompanied by drumming and dancers, and surrounded by a circle of

fire. As twilight moves deeper into night the participants witness the ancient lines

carved on rocks ‘twist’, ‘curl’ and swirl. This signals the beginning of an intense

trance-like journey aided by one of the participants. And using the ‘ragbag’ of a

‘modern Siberian shaman’ the magician/facilitator attempts to reveal – according to

the script;

‘pre-historic memories – tribal experiences lost in the ancient centre of the

brain.’ (Strange, 2005, p.3)

Here one participant acts as a conduit falling back in time and the sharing the feeling

of ‘the rich, stinking earth’, ‘the shaking ground’, and the primal hunt itself. Again

from the script;

 5

Then quietly you ask, ‘What did you remember? What was your

memory?’

[the participant] looks at you, with eyes moist but bright, and whispers, ‘I

was hunting mammoths in the rain.’(Strange, 2005, p.8)

As I have suggested, there is, of course, a rich and deep continuum of this kind of

work and these two examples only really bracket the genre. Many experiential

effects have been published based in such areas as wiccan ritual, high magick, ghost

stories, popular Gothic and horror fictions and beyond. And work of this type was

regularly submitted to magician-only journals such as Jinx (1934-42), Cauldron (1967-

68), Invocation/New Invocation (1974-1996), Séance magazine (1988-89). For me these

works culminate in perhaps the most well known monograph (at least amongst

practitioners) of an experiential performance piece: Brother Shadow’s Have Séance

Will Travel (1995) – which is based entirely on carefully guiding the imagination of

the participant on an emotional journey. It draws heavily on the experiential

practices of the Human Potential Movement and borrows a key exercise from Mind

Games: The Guide to Inner Space (Masters & Houston, 1998).1 Again this work

attempts to evoke the vision of a lost memory for each of the participants. The goal

being in any of these effects is to impart an element of the experience of real magic

without necessarily ever signalling that the facilitator is a performance magician at

all.

In my own practice as a performance magician and a Bizarrist, I find Bizarre Magick

the most vibrant form of performance magic there is. When it is done well it can

blur the line between the real and unreal, between illusion and disillusion.

1Further consideration on the importance of this work in Séance practice can be

found in Taylor (2015).
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As a practitioner I am still playing with putting this into some form of useful

theoretical context. To this end I have found it helpful to draw on Mangan (2007)

who, in turn, is drawing on Jackson (1981) by borrowing from the science of optics to

identify the ‘paraxial region’ as a useful metaphor for the ‘ spectral region of the

fantastic’. For Jackson this ‘imaginary world is neither entirely ‘real’ (object), nor

entirely ‘unreal’ (image) but is located somewhere indeterminately between the two'.

(Jackson, 1981, p.19). Mangan extends this notion in his discussion of early modern

magic (in the 17th Century) by describing it as ‘multifocal’ and ‘able to contain

paradoxes and contradictions’. As I develop my work in Bizarre Magick I am

starting to think that this can be applied to the experiential side of the practice. I feel
(to quote Mangan again) that the; ‘ambiguous space between efficacy and

entertainment’ appears real in ‘mind of the audience […] and I’d like to suggest that

the imaginative spaces created by Bizarre Magick can be just as ‘creative and playful’

as Mangan suggests the experience of 17th century magic was. (Mangan 2007, 56–57)

In order to move the audience into this imaginative space it is the magician who

must attempt to place themselves and the audience within the paraxial region. They

must be able to move seamlessly between the worlds of the real and the unreal. This

is, of course, likely to occur to different degrees, the extent of which is usually

signified by the degree and frequency of movement between these worlds. So to

illustrate this, it might be useful to look at the traditional magician and then look at

the Bizzarist; as, for the traditional magician, the movement between the real and the

unreal is regular and often embedded into the form.

Magician and theorist Robert Neale (2008)

calls this pacing monkey movement. To

illustrate this Neale draws on the traditional

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Japanese image of a monkey swinging from a branch that hangs over a lake. The

monkey is looking down at a reflection of the moon in the water and so sees the

illusion of the real moon shimmering just below the surface (the unreal). Then,

when the monkey reaches for the reflected ‘moon’ he disturbs the surface of the

water. The illusion is dispelled (the real) … at least until the water is still and once

again the monkey looks down at the moon’s reflection and enjoys the illusion.

For Neale, the experience of performance magic is this playful movement between

illusion and disillusion. This can be seen in the work of a ‘traditional magician’;

playing very much the trickster role and presenting magic (real) but intimately

framing the magic as tricks (unreal).

It is an accepted trope of the performance magician, and something the early

Bizarrists fought against. This is not to deride the traditional magician, but

theatrically it is, in my opinion (and the opinion of many other Bizarrists) simply not

very challenging. It is trickster magic – something Hass refers to as 'reversal and

disruption' (Hass, 2008a, p.22) – it is tricks – or even worse - puzzles to be solved.

Bizarre Magick strives for something more. It is a more theatrical kind of magic that

at least for the moment of performance offers the participants a gateway into the

paraxial. It can induce something that Hass (in a different article) terms ‘visceral

cognitive disturbance’ (Hass, 2008b). Magic's performative intention is deliberately

blurred. This blurring, rather grandly, helps us, according to Burger and Neale,

awaken ‘to another realm of experience; the magical dimension that lies behind and

beyond all experience.' (Burger & Neale, 1995, p.24)

The role of the magician and their relationship to the audience in such work is

complex and I feel a re-labelling as ‘paranormal entertainer’ or ‘mystery entertainer’

helps – take for example, Derren Brown with his ‘psychological illusionist’ moniker.
 8

By re-framing himself, he is able to blur the edges in his work and, in turn, this

allows him to draw on, for example, current trends such as NLP as reasoning behind

his effects.

So for experiential magic to take an audience

into the paraxial the magician must move

away from the established view of the

magician. Early Bizarrists (and indeed proto-

Bizarrists) knew this. Take, for example, the

image of the magician encouraged by

Invocation Magazine. Steven Fabian's

illustration graced the cover from Issue 5 (July 1975) for over four years until the

publication became the New Invocation in October 1979. Here the magician seen as a

skilled practitioner of ritual, able to command elemental forces and summon

demons, and indeed many of the key effects of the time appeared to achieve this

very thing. In experiential magic the magician/mystery entertainer/facilitator places

themselves in a performative grey area. Which means, according to Doc Shiels, he

must not, simply appear as an actor playing the part of a magician, he must BE an

awesomely and demonstrably real cantrip-casting magician! (Shiels, 1988, p.19)

We have seen this work in the mainstream where a magician can invite the audience

into the paraxial by forming a contract based on little or no acknowledgment that

performance magic is taking place. Is real magic being performed? A useful

example is Uri Geller who, breaking through in the nineteen seventies began a mind

power craze similar in scope to the spiritualism craze promoted by the Fox sisters

over a hundred years earlier. We also have magicians such as Alexander the Great

performing at the beginning of the last century who held special ladies psychic

advice matinees – brilliant pieces of theatre in themselves, and later practitioners

such as Chan Canasta (1920-1999) and The Amazing Kreskin (1935 - ) who
 9

performed in the sixties and seventies and who avoid mentioning magical method,

instead suggesting remarkable mind power.

In my own performance practice this contract

is important – my main act is séance where

getting to the paraxial is a key aspect of the

work. Working with story-telling, hauntings,

the gothic, popular perceptions of the

supernatural, I hope to facilitate an

atmosphere where all traditional magical

tropes are absent and through a guided process lead into a dark séance where the
participants experience apparently real spirit contact. Once again drawing from

Mangan, this work aims to challenge;

‘the spectator's sense of reality’ testing ‘the spectator's perceptions against

the cognitive structures which allow those perceptions to make sense.

[…].(Mangan, 2007, p.xv)

In experiential magic, at least for the moment of performance, a spectator is given

the chance to experience real magick and while the notion of the paraxial can be

useful in describing this experience, admittedly it is only part of the story and my

practice continues to explore new avenues of enquiry.2

I want to finish with a little piece of experiential magic that we all can enjoy – not to

the grand scale of the illustrations above, but a little moment where you might

experience a tiny bit of the paraxial. It is based our ability to see the magical in

divination and so you may perhaps get an answer to a burning question. It’s a little

2 See Taylor, 2015 & Taylor & Nolan, 2015

 10

piece I performed at Yorkshire Sculpture Park for Hester Reeve’s YMEDACA

project. It’s called The Gift of Hermes. (Taylor, 2014)

BIBLIOGAPHY

Annemann, T. (1941) 'The Fairy Goblet - Editor’s Note'. The Jinx, (133), pp.761–763.

Burger, E. & Neale, R.E. (1995) Magic & Meaning. 1st ed. Seattle WA: Hermetic Press.

During, S. (2002) Modern enchantments : the cultural power of secular magic. Cambridge
Mass.: Harvard University Press.

Hass, L. (2008a) 'Life Magic and Staged Magic'. In: F. Coppa, L. Hass, & J. Peck eds.
Performing magic on the western stage : from the eighteenth century to the present.
New York: Palgrave Macmillan.

Hass, L. (2008b) 'Magic & Theatre, Part 1'. Magic, 17 (10), p.21.

Jackson, R. (1981) Fantasy, the literature of subversion. London, New York: Methuen.

Masters, R.E.L. & Houston, J. (1998) Mind Games: The Guide to Inner Space. 2nd
Revised edition. Quest Books,U.S.

Minch, S. (2009) 'A Vivisection of the Bizarre'. M-U-M, 99 (5), p.63.

Neale, R.E. (2008) 'Illusions about Illusions'. In: F. Coppa, L. Hass, & J. Peck eds.
Performing magic on the western stage : from the eighteenth century to the present.
New York, NY: Palgrave Macmillan, pp.217–230.

Shadow, B. (1995) Have Seance Will Travel. New York: Umbra Press.

Shiels, T. (1988) Cantrip Codex. London: Tony Andruzzi.

 11

Smith, L. & Lyons, L.V. (1941) 'The Fairy Goblet'. The Jinx, (133), pp.761–763.

Strange, C. (2005) Garden of the Strange. Kent: Alakazam Magic.

Taylor, N. (2015) 'Impersonating Spirits: The Paranormal Entertainer and the

Dramaturgy of the Gothic Séance.'. In: L. Piatti-Farnell & D. L. Brien eds. New
Directions in 21st-Century Gothic: The Gothic Compass. Routledge, pp.163–174.

Taylor, N. (2014) 'The Gift of Hermes' [performance] Hester Reeve - YMEDACA,

Yorkshire Sculpture Park. 30 Aug 2014.

Taylor, N. & Nolan, S. (2015) 'Performing Fabulous Monsters: Re-inventing the

Gothic Personae in Bizarre Magic.'. In: C. Spooner & F. Botting eds. Monstrous
Media/Spectral Subjects: Imaging Gothic from the Nineteenth Century to the
Present. Manchester: Manchester University Press, pp.128–142.