Neo-Magic is the foundation for all of Sharpe's writing. Sharpe offers great insight into what makes magic magical. Starting with an analysis of art and its relationship to magic, Sharpe explores what he feels is needed for magic to become a fine art. He provides his insight into topics as originality, patter, styles of presentation, program construction, stage fright and others.
From the preface to the second edition:
What I have been doing over a considerable number of years is to find out, if possible, whether the answer to the question "Is conjuring a Fine Art?" should be "Yes" or "No," I long since came to the conclusion that neither of these is the answer, whatever the subject concerned. The question is wrong. It should be – "Can conjuring (or whatever you are discussing) be a Fine Art?" The answer in this case being: "Only if the craftsman is himself a Fine Artist." There is no such thing as a Fine Art per se. Not only must each specimen be considered individually; but the onlooker is incapable of assessing any work of art except by his own reactions to it. What seems to him a vulgar production may have been the artist's supreme effort at creating beauty according to his own lights; and what overcomes the same onlooker with sudden glory may have been a mere "pot-boiler" to its maker, whose best work was on a much more esoteric plane. It all depends on one's spiritual development.
PREFACE TO THE SECOND EDITION
ACKNOWLEDGEMENT
ODE TO A MAGICIAN
INTRODUCTION
CHAPTER I. CONJURING AS A FINE ART
I. The Nature of Art
II. The Nature of Conjuring
III. Critical Objections to Conjuring as an Art
IV. Showmanship
V. Order of Merit of Conjuring Effects
VI. Popularity
CHAPTER II. GRADES OF ART
I. False Art
II. Formal Art
III. Naturalistic Art
IV. Imaginative Art
V. Absolute or Abstract Conjuring
CHAPTER III. THE ORIGINATOR
I. Conjurers Classified
II. Originality
III. Systematic Invention of Formal Effects
IV. Forms of Assistance
V. Analysis of Magical Plots
VI. New Dramatic Plots
VII. Copyright
CHAPTER IV. PATTER
I. Types of Patter
II. Narrative Patter
III. Composition of Patter
IV. Making Magic Convincing
V. Complication and Climax
VI. Tragedy and Farce
VII. Comedy in Conjuring
VIII.
IX.
CHAPTER V. THE CONJURER
I. The Inventor and Manufacturer
II. The Executive Conjurer
III. Desirable Qualities in a Conjurer
IV. Mastering the Craft
CHAPTER VI. PRODUCTION
I. Necessity of a Producer
II. Advertising
III. Styles of Presentation
IV. The Magical Sketch
V. Logic
VI.
VII. Consistency
VIII. Unfounded Suspicion
IX. On Leaving the Stage
X. Dramatic Types
XI. Preparing Against a Contretemps
CHAPTER VII. PRODUCTION (continued)
I.
II. Audiences
III. Choice of Apparatus
IV. More About Audiences
V. Order of Effects
VI. Surprise, Repetition and Transition
VII. Holding Attention
VIII. Separate Item v. Sequenced Programme
IX. Pattern Programmes
X. Incidentals
CHAPTER VIII. PRODUCTION (continued)
I. Interest
II. Stage Fright
III. Emotional Appeal
IV. Scene
V. Schools of Conjuring
IV. The Legitimate Use of Apparatus
CHAPTER IX. PRODUCTION (continued)
I. Action
II. Sound
III. Music
CHAPTER X. THE CRITIC
I. Constructive Criticism
II. Objects of Criticism
III Exposure
IV. Magic and Music
V. Exposing Minor Effects
IV. Exposing Sleight of Hand and Stage Magic
VII. Immunity of the Artist
VIII. Better Conjuring
IX. Mediums of Exposure
X. Conclusion
1st edition 1932; 2nd edition 1946, 130 pages; 1st digital edition 2019, 117 pages.
word count: 50753 which is equivalent to 203 standard pages of text
