The key to getting the right letter or number answer is to keep telling the sitter to "keep your mind clear of anything else except the letter, keep repeating it to yourself over and over.In February, 1891, the first few advertisements started appearing in papers: “Ouija, the Wonderful Talking Board,” boomed a Pittsburgh toy and novelty shop, describing a magical device that answered questions “about the past, present and future with marvelous accuracy” and promised “never-failing amusement and recreation for all the classes,” a link “between the known and unknown, the material and immaterial.” Another advertisement in a New York newspaper declared it “interesting and mysterious” and testified, “as sProven at Patent Office before it was allowed. I should market this effect, but until I do, it is yours for free. After about a week of practice you will get the initials just about every time and of course the ones you miss just add to the effect. This way you further unlink her ability to think she guided your hand. Then turn to her and tell her what the letters were. Just move on and tell her to think of the 2nd letter, once you have it then keep moving your hand back a forth and end on Z. Start at the letter A then get a 2 letter back and forth movement going with your hand and keep it moving across the board until you get to z, if you didn't get a read, start again, now even when you "get" the letter. Have your index finger pointing out and abour 2 inches above the board. I would have the sitter hold my wrist as she would think of the first letter of the name, then we would do the first letter of the last name. I had the rub on letters going across the board spaced about 2 inches apart and 4 rows down, then a 5th line with the numbers 0-9. I guess what I have been rambling about is that, as performers, we find what works for us, and more importantly, our guests and customers.Īfter I got into muscle reading I created a type of Qujia board. The locale was less than perfect-and it would have been impossible to control all the elements of atmosphere-so I pitched the Ouija board as part of my act prior to the booking of the performance-and they were thrilled with the idea. Two nights ago I performed a seance in the basement of a local, private college. Using the talking board has been a handy alternative to performing the blackout phase of my seance. I prefer to do a total blackout during the dark part of my seance, and sometimes when I have been in private homes, this is nearly impossible without spending inordinate times prepping the location-after all, this is a business. After all, which of us, when we were in our youth, believed the forces behind the Ouija to be real? If done right, and in the right context, the board can push your performance beyond just mere fun and games to a point where the sitters actually question the reality of what they are experiencing. From my experience, most people remember the Ouija as a somewhat dangerous/risky and therefor exciting, adolescent excursion, full of possibilities to contact those things that may lurk in the darkness. I don't believe that most people know the chronology of Ouija, and probably don't even care. How's the old saying go? "Give the lady what she wants." This season alone, I have had numerous requests for the talking board. Personally, I use a Ouija board in some of my seances.
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