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- W2078049015 abstract "Though conjuring or magic is one of the minor performing arts, it is most often associated with amusement, for interest in it seems selfcontained. Delineations which can be made within its phenomenology, however, indicate that it is not merely a form of popular entertainment It raises questions which bear directly on aesthetic issues.1 Its history is long, traceable to the occult arts of ancient Egypt, and it is related to the evolution of religion. It is a harmless outgrowth of sorcery, wizardry, necromancy, and alchemy. Its appeal is perennial and worldwide. It has affinities with the drama, though sometimes it seems more at home in a carnival. It also has something of the direct and natural appeal of the dance, for its actions are usually understandable even if the language of the performer is not. An Amazonian aborigine is no more baffled than a sophisticated New Yorker by the sudden disappearance of a bird cage or the production of fluttering doves from a flaming pan. Amazonian may think the conjuror is a god; the New Yorker knows he is not. Because conjuring does not finally depend on language and presupposes no cultural background, its appeal can be more universal than that of music. It can be called a completely international art. famed Indian magician Sorcar once asserted: The lure of magic is instinctive; we can no better erase it than we can remove the sense of self-preservation.2 This so-called lure is the anticipation of being mystified. No other performing art seeks so exclusively to baffle and confound its audience. At the same time there is no other art in" @default.
- W2078049015 created "2016-06-24" @default.
- W2078049015 creator A5039737580 @default.
- W2078049015 date "1979-10-01" @default.
- W2078049015 modified "2023-09-25" @default.
- W2078049015 title "The Art of Conjuring" @default.
- W2078049015 doi "https://doi.org/10.2307/3331747" @default.
- W2078049015 hasPublicationYear "1979" @default.
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