魔术的定义是什么？需要用英文的
2024-05-19来源：编辑
定义：Magic is a performing art that entertains an audience by creating illusions of impossible[1] or supernatural[2] feats, using purely natural means. These feats are called magic tricks, effects or illusions.
An artist who performs magic is called a magician. Magicians (or magi) are also referred to by names reflecting the type of magical effects they typically perform, such as prestidigitators, conjurors, illusionists, mentalists, ventriloquists, and escape artists, etc.
历史
The term "Magic" is etymologically derived from the Old Persian word Magi. Performances we would now recognize as conjuring have probably been practiced throughout history. The same level of ingenuity that was used to produce famous ancient deceptions such as the Trojan Horse would also have been used for entertainment, or at least for cheating in gambling games, since time immemorial. However, the profession of the illusionist gained strength only in eighteenth century, and has enjoyed several popular vogues.
Jean Eugène Robert-Houdin, the first modern magician.From 1756 to 1781, Jacob Philadelphia performed feats of magic, sometimes under the guise of scientific exhibitions, throughout Europe and in Russia. Modern entertainment magic owes much of its origins to Jean Eugène Robert-Houdin (1805-1871), originally a clockmaker, who opened a magic theatre in Paris in the 1840s. His speciality was the construction of mechanical automata which appeared to move and act as if they were alive. The British performer J N Maskelyne and his partner Cooke established their own theatre, the Egyptian Hall in London's Piccadilly, in 1873. They presented stage magic, exploiting the potential of the stage for hidden mechanisms and assistants, and the control it offers over the audience's point of view. The escapologist and magician Harry Houdini (real name Ehrich Weiss, 1874 - 1926), took his stage name from Robert-Houdin and developed a range of stage magic tricks, many of them based on escapology (though that word was not used until after Houdini's death). The son of a Hungarian rabbi, Houdini was genuinely highly skilled in techniques such as lockpicking and escaping straitjackets, but also made full use of the whole range of conjuring techniques, including fake equipment and collusion with individuals in the audience. Houdini's showbusiness savvy was as great as his performing skill. There is a Houdini Museum dedicated to him in Scranton, Pennsylvania. In addition to expanding the range of magic hardware, showmanship and deceptive technique, these performers established the modern relationship between the performer and the audience.
In this relationship, there is an unspoken agreement between the performer and the audience about what is going on. Unlike in the past, almost no performers today actually claim to possess supernatural powers. There is a debate amongst people who perform mentalism as to whether or not to perform their style of magic as if they have real power or if they can simulate this power[3].
It is generally understood by most people that the effects in the performance are accomplished through sleight of hand (also called prestidigitation or léger de main), misdirection, deception, collusion with a member of the audience, apparatus with secret mechanisms, mirrors, and other trickery (hence the illusions are commonly referred to as "tricks"). The performer seeks to present an effect so clever and skillful that the audience cannot believe their eyes, and cannot think of the explanation. The sense of bafflement is part of the entertainment. In turn, the audience play a role in which they agree to be entertained by something they know to be a deception. Houdini also gained the trust of his audiences by using his knowledge of illusions to debunk charlatans, a tradition continued by magicians such as James Randi, P. C. Sorcar, and Penn and Teller.
Magic has come and gone in fashion. For instance, the magic show for much of the 20th century was marginalized in North America as largely children's entertainment. A revival started with Doug Henning, who reestablished the magic show as a form of mass entertainment with his distinctive look that rejected the old stereotypes and his exuberant sense of showmanship that became popular on both stage and numerous television specials.
Today, the art is enjoying a vogue, driven by a number of highly successful performers such as David Copperfield, Lance Burton, Penn and Teller, Derren Brown, Barry and Stuart, Criss Angel, Dorothy Dietrich, Greg Frewin and many other stage and TV performers. David Blaine is sometimes included in this category, though his major performances have been more a combination of Houdini-style escape tricks and physical endurance displays than the illusion magic performed by others. The mid-twentieth century saw magic transform in many different aspects. Some performers preferred to renovate the craft on stage (such as The Mentalizer Show in Times Square which mixed themes of spirituality and kabbalah with the art of magic). Others successfully made the transition to TV, which opens up new opportunities for deceptions, and brings the performer to huge audiences. Most TV magicians are shown performing before a live audience, who provide the remote viewer with a reassurance that the effects are not obtained with the help of camera tricks.
Many of the basic principles of magic are comparatively old. There is an expression, "it's all done with smoke and mirrors", used to explain something baffling, but contrary to popular belief, effects are seldom achieved using mirrors today, due to the amount of work needed to install it and difficulties in transport. 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, Statue of Liberty, and the Space Shuttle, using other kinds of optical deceptions.
Categories of effects
There is much discussion among magicians as to how a given effect is to be categorized, and disagreement as to what categories actually exist -- for instance, some magicians consider "penetrations" to be a separate category, while others consider penetrations a form of restoration or teleportation. It is generally agreed that there are very few different types of effect. There has been disagreement between some magicians (such as Dariel Fitzkee, Harlan Tarbell, S.H. Sharpe) as to how many different types of illusion there are. Some of these are listed below.
Production The magician produces something from nothing—a rabbit from an empty hat, a fan of cards from thin air, a shower of coins from an empty bucket, or the magician themselves, appearing in a puff of smoke on an empty stage -- all of these effects are productions.
Vanishing The magician makes something disappear—a coin, a cage of doves, milk from a newspaper, an assistant from a cabinet, or even the Statue of Liberty. A vanish, being the reverse of a production, may use a similar technique, in reverse.
Transformation The magician transforms something from one state into another—a silk handkerchief changes colour, a lady turns into a tiger, an indifferent card changes to the spectator's chosen card. A transformation can be seen as a combination of a vanish and a production.
Restoration The magician destroys an object, then restores it back to its original state—a rope is cut, a newspaper is torn, a woman is sawn in half, a borrowed watch is smashed to pieces—then they are all restored to their original state.
Teleportation The magician causes something to move from one place to another—a borrowed ring is found inside a ball of wool, a canary inside a light bulb, an assistant from a cabinet to the back of the theatre. When two objects exchange places, it is called a transposition: a simultaneous, double teleportation.
Levitation The magician defies gravity, either by making something float in the air, or
Magician Anthony Bass levitating a slip of paper.with the aid of another object (suspension)—a silver ball floats around a cloth, an assistant floats in mid-air, another is suspended from a broom, a scarf dances in a sealed bottle, the magician hovers a few inches off the floor. There are many popular ways to create this illusion of the magician himself being levitated, such as the Balducci levitation, the King Rising, Criss Angel's stool levitations, and the Andruzzi levitations.
Penetration The magician makes a solid object pass through another—a set of steel rings link and unlink, a candle penetrates an arm, swords pass through an assistant in a basket, a saltshaker penetrates the table-top, a man walks through a mirror. Sometimes referred to as 'solid-through-solid'.
Prediction The magician predicts the choice of a spectator, or the outcome of an event under seemingly impossible circumstances—a newspaper headline is predicted, the total amount of loose change in the spectator's pocket, a picture drawn on a slate. Prediction forms the basis for most 'pick-a-card' tricks, where a random card is chosen, then revealed to be known by the performer.
Many magical routines use combinations of effects. For example, in the famous 'cups and balls' a magician may use vanishes, productions, penetrations, teleportations and transformations all as part of the one presentation.
http://baike.baidu.com/view/4503.html?wtp=tt
An artist who performs magic is called a magician. Magicians (or magi) are also referred to by names reflecting the type of magical effects they typically perform, such as prestidigitators, conjurors, illusionists, mentalists, ventriloquists, and escape artists, etc.
历史
The term "Magic" is etymologically derived from the Old Persian word Magi. Performances we would now recognize as conjuring have probably been practiced throughout history. The same level of ingenuity that was used to produce famous ancient deceptions such as the Trojan Horse would also have been used for entertainment, or at least for cheating in gambling games, since time immemorial. However, the profession of the illusionist gained strength only in eighteenth century, and has enjoyed several popular vogues.
Jean Eugène Robert-Houdin, the first modern magician.From 1756 to 1781, Jacob Philadelphia performed feats of magic, sometimes under the guise of scientific exhibitions, throughout Europe and in Russia. Modern entertainment magic owes much of its origins to Jean Eugène Robert-Houdin (1805-1871), originally a clockmaker, who opened a magic theatre in Paris in the 1840s. His speciality was the construction of mechanical automata which appeared to move and act as if they were alive. The British performer J N Maskelyne and his partner Cooke established their own theatre, the Egyptian Hall in London's Piccadilly, in 1873. They presented stage magic, exploiting the potential of the stage for hidden mechanisms and assistants, and the control it offers over the audience's point of view. The escapologist and magician Harry Houdini (real name Ehrich Weiss, 1874 - 1926), took his stage name from Robert-Houdin and developed a range of stage magic tricks, many of them based on escapology (though that word was not used until after Houdini's death). The son of a Hungarian rabbi, Houdini was genuinely highly skilled in techniques such as lockpicking and escaping straitjackets, but also made full use of the whole range of conjuring techniques, including fake equipment and collusion with individuals in the audience. Houdini's showbusiness savvy was as great as his performing skill. There is a Houdini Museum dedicated to him in Scranton, Pennsylvania. In addition to expanding the range of magic hardware, showmanship and deceptive technique, these performers established the modern relationship between the performer and the audience.
In this relationship, there is an unspoken agreement between the performer and the audience about what is going on. Unlike in the past, almost no performers today actually claim to possess supernatural powers. There is a debate amongst people who perform mentalism as to whether or not to perform their style of magic as if they have real power or if they can simulate this power[3].
It is generally understood by most people that the effects in the performance are accomplished through sleight of hand (also called prestidigitation or léger de main), misdirection, deception, collusion with a member of the audience, apparatus with secret mechanisms, mirrors, and other trickery (hence the illusions are commonly referred to as "tricks"). The performer seeks to present an effect so clever and skillful that the audience cannot believe their eyes, and cannot think of the explanation. The sense of bafflement is part of the entertainment. In turn, the audience play a role in which they agree to be entertained by something they know to be a deception. Houdini also gained the trust of his audiences by using his knowledge of illusions to debunk charlatans, a tradition continued by magicians such as James Randi, P. C. Sorcar, and Penn and Teller.
Magic has come and gone in fashion. For instance, the magic show for much of the 20th century was marginalized in North America as largely children's entertainment. A revival started with Doug Henning, who reestablished the magic show as a form of mass entertainment with his distinctive look that rejected the old stereotypes and his exuberant sense of showmanship that became popular on both stage and numerous television specials.
Today, the art is enjoying a vogue, driven by a number of highly successful performers such as David Copperfield, Lance Burton, Penn and Teller, Derren Brown, Barry and Stuart, Criss Angel, Dorothy Dietrich, Greg Frewin and many other stage and TV performers. David Blaine is sometimes included in this category, though his major performances have been more a combination of Houdini-style escape tricks and physical endurance displays than the illusion magic performed by others. The mid-twentieth century saw magic transform in many different aspects. Some performers preferred to renovate the craft on stage (such as The Mentalizer Show in Times Square which mixed themes of spirituality and kabbalah with the art of magic). Others successfully made the transition to TV, which opens up new opportunities for deceptions, and brings the performer to huge audiences. Most TV magicians are shown performing before a live audience, who provide the remote viewer with a reassurance that the effects are not obtained with the help of camera tricks.
Many of the basic principles of magic are comparatively old. There is an expression, "it's all done with smoke and mirrors", used to explain something baffling, but contrary to popular belief, effects are seldom achieved using mirrors today, due to the amount of work needed to install it and difficulties in transport. 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, Statue of Liberty, and the Space Shuttle, using other kinds of optical deceptions.
Categories of effects
There is much discussion among magicians as to how a given effect is to be categorized, and disagreement as to what categories actually exist -- for instance, some magicians consider "penetrations" to be a separate category, while others consider penetrations a form of restoration or teleportation. It is generally agreed that there are very few different types of effect. There has been disagreement between some magicians (such as Dariel Fitzkee, Harlan Tarbell, S.H. Sharpe) as to how many different types of illusion there are. Some of these are listed below.
Production The magician produces something from nothing—a rabbit from an empty hat, a fan of cards from thin air, a shower of coins from an empty bucket, or the magician themselves, appearing in a puff of smoke on an empty stage -- all of these effects are productions.
Vanishing The magician makes something disappear—a coin, a cage of doves, milk from a newspaper, an assistant from a cabinet, or even the Statue of Liberty. A vanish, being the reverse of a production, may use a similar technique, in reverse.
Transformation The magician transforms something from one state into another—a silk handkerchief changes colour, a lady turns into a tiger, an indifferent card changes to the spectator's chosen card. A transformation can be seen as a combination of a vanish and a production.
Restoration The magician destroys an object, then restores it back to its original state—a rope is cut, a newspaper is torn, a woman is sawn in half, a borrowed watch is smashed to pieces—then they are all restored to their original state.
Teleportation The magician causes something to move from one place to another—a borrowed ring is found inside a ball of wool, a canary inside a light bulb, an assistant from a cabinet to the back of the theatre. When two objects exchange places, it is called a transposition: a simultaneous, double teleportation.
Levitation The magician defies gravity, either by making something float in the air, or
Magician Anthony Bass levitating a slip of paper.with the aid of another object (suspension)—a silver ball floats around a cloth, an assistant floats in mid-air, another is suspended from a broom, a scarf dances in a sealed bottle, the magician hovers a few inches off the floor. There are many popular ways to create this illusion of the magician himself being levitated, such as the Balducci levitation, the King Rising, Criss Angel's stool levitations, and the Andruzzi levitations.
Penetration The magician makes a solid object pass through another—a set of steel rings link and unlink, a candle penetrates an arm, swords pass through an assistant in a basket, a saltshaker penetrates the table-top, a man walks through a mirror. Sometimes referred to as 'solid-through-solid'.
Prediction The magician predicts the choice of a spectator, or the outcome of an event under seemingly impossible circumstances—a newspaper headline is predicted, the total amount of loose change in the spectator's pocket, a picture drawn on a slate. Prediction forms the basis for most 'pick-a-card' tricks, where a random card is chosen, then revealed to be known by the performer.
Many magical routines use combinations of effects. For example, in the famous 'cups and balls' a magician may use vanishes, productions, penetrations, teleportations and transformations all as part of the one presentation.
http://baike.baidu.com/view/4503.html?wtp=tt
18072225081：榄旀湳鐨勫畾涔夋槸浠涔?闇瑕佺敤鑻辨枃鐨
禄京：绛旓細The art that purports to control or forecast natural events, effects, or forces by invoking the supernatural.2 The practice of using charms, spells, or rituals to attempt to produce supernatural effects or control events in nature.The charms, spells, and rituals so used.The exercise...
18072225081：榄旀湳琛ㄦ紨鑻辨枃浠嬬粛
禄京：绛旓細榄旀湳鏄互涓嶆柇鍙樺寲璁╀汉鎹夋懜涓嶉忓苟甯︾粰瑙備紬鎯婂浣撻獙涓烘牳蹇冪殑涓绉嶈〃婕旇壓鏈锛屾槸鍒堕犲杩圭殑鑹烘湳鏇寸畝鍗曠殑璇达紝浠栨槸涓绉嶈繚鍙嶅瑙傝寰嬬殑琛ㄦ紨銆傚畠鏄緷鎹瀛︾殑鍘熺悊锛岃繍鐢ㄧ壒鍒剁殑閬撳叿锛屽阀濡欑患鍚堣瑙変紶杈俱佸績鐞嗗銆佸寲瀛︺佹暟瀛︺佺墿鐞嗗銆佽〃婕斿绛変笉鍚岀瀛﹂鍩熺殑楂樻櫤鎱х殑琛ㄦ紨鑹烘湳銆傛姄浣忎汉浠ソ濂囥佹眰鐭ュ績鐞嗙殑鐗圭偣锛屽埗閫犲嚭绉...
18072225081：magic鏄粈涔鎰忔濆晩
禄京：绛旓細magic锛岃嫳鏂囧崟璇嶏紝鍚嶈瘝銆佸舰瀹硅瘝銆佸姩璇嶏紝浣滃悕璇嶆椂鎰忎负鈥滈瓟娉曪紝宸湳锛涢瓟鏈紱榄呭姏锛涳紙闈炴寮忥級鏈夐瓍鍔涗箣鐗╋紱锛堥潪姝ｅ紡锛夌綍瑙佹墠鑳斤紱(Magic) 锛堢編锛夐┈鍚夊厠锛堜汉鍚嶏級鈥濓紝浣滃舰瀹硅瘝鏃舵剰涓衡滄湁榄斿姏鐨勶紱榄旀硶鐨勶紱绁炲鐨勶紱锛堥潪姝ｅ紡锛夋瀬濂界殑鈥濓紝浣滃姩璇嶆椂 鎰忎负鈥滐紙鍍忥級鐢ㄩ瓟娉曞彉鍑猴紙鎴栫Щ鍔ㄣ佹敼鍙樼瓑锛夆濄傜煭璇惌閰 Orl...
18072225081：榄旀湳鐢ㄨ嫳璇庝箞璇
禄京：绛旓細榄旀湳鐨勮嫳璇槸magic銆備竴銆侀瓟鏈畝浠 榄旀湳鏄互涓嶆柇鍙樺寲璁╀汉鎹夋懜涓嶉忓苟甯︾粰瑙備紬鎯婂浣撻獙涓烘牳蹇冪殑涓绉琛ㄦ紨鑹烘湳锛屾槸鍒堕犲濡欑殑鑹烘湳銆傞瓟鏈槸渚濇嵁绉戝鐨勫師鐞嗭紝杩愮敤鐗瑰埗鐨勯亾鍏凤紝宸у缁煎悎瑙嗚浼犺揪銆佸績鐞嗗銆佸寲瀛︺佹暟瀛︺佺墿鐞嗗銆佸垜渚﹀銆佽〃婕斿绛変笉鍚岀瀛﹂鍩熺殑楂樻櫤鎱х殑琛ㄦ紨鑹烘湳銆傛姄浣忎汉浠ソ濂囥佹眰鐭ュ績鐞嗙殑鐗圭偣锛屽埗閫...
18072225081：鈥榄旀湳鈥濈殑鑻辫鍗曡瘝鎬庝箞鍐?
禄京：绛旓細榄旀湳 magic 鍙傝冭祫鏂欙細鑻辨眽璇嶅吀
18072225081：鑻辫鍗曡瘝 鈥滈瓟娉曗濈殑鍖哄埆?
禄京：绛旓細magic; 鏈甯哥敤锛屾硾鎸囦竴鍒囧厜鏄庣被鐨勯瓟娉曪紝榄旀硶鍔涳紝榄旀硶鍊硷紝姣斿椋庨浄鍐扮伀鍏夋槑浜斿ぇ绯荤殑榄旀硶 wizardry;witchcraft 鏄寚宸湳锛堟瘮濡傜洿鎺ヤ綔鐢ㄤ簬浜轰綋鐨勫娉曪紝鍙樿韩锛岄瓍鎯戠瓑绛夛級锛屼篃闇瑕佽楄垂榄旀硶鍔涳紝涓嶅悓鏄墠鑰呭鐢ㄤ簬鐢峰帆锛屽悗鑰呭鐢ㄤ簬濂冲帆 sorcery; 甯︽湁瀹楁暀鎬ц川鐨勫帆鏈紝渚嬪鍙敜锛岀鐏甸檮浣擄紝鍔犳寔绫婚瓟娉曠瓑绛 ...
18072225081：鍨嬫湀閲屸榄旀湳鈥濆拰鈥滈瓟娉曗濈殑鍖哄埆,缈昏瘧鎴鑻辨枃濡備綍浣撶幇
禄京：绛旓細鍦ㄨ嫳璇噷magic鍙互琛ㄧず榄旀硶锛屼篃鍙〃绀洪瓟鏈紝鍏蜂綋琛ㄧず浠涔堝惈涔夋槸閫氳繃涓婁笅鏂囨潵纭畾鐨勩傛墍浠ヤ綘閮界炕璇戞垚magic灏卞彲浠ワ紝闃呰鑰呭彲浠ラ氳繃涓婁笅鏂囨潵鏄庣‘鍏跺惈涔夈倃itchcraft杩欎釜璇嶅彧鏈夐瓟娉曠殑鍚箟锛屼篃鍙互鑰冭檻閫夌敤銆備絾瑕佹敞鎰忓畠甯︽湁璐熼潰鍚箟锛屼篃灏辨槸鎸囬偅浜涗笉濂界殑榄旀硶銆
18072225081："榄旀湳"鐢ㄨ嫳璇缈昏瘧,缁欏ソ璇
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18072225081：浠涔鏄瓟娉
禄京：绛旓細榄旀硶m贸 f膩 Magic 榄旀湳锛屽够鏈紝灏ゅ叾鏄寚鑸炲彴涓婄殑琛ㄦ紨锛岀函绮逛负濞变箰鏁堟灉鐨勬墜娉曘佹妧宸с侀殰鐪兼硶銆傜湡姝ｇ殑榄旀硶锛屾硶甯堝彲浠ュ埄鐢ㄨ嚜韬殑绮剧蹇靛姏锛屼互鍙婅嚜鐒剁晫鐨勫姏閲忥紝閫忚繃鍜掕銆佺绠撱佸湴銆佹按銆佺伀銆侀绛夌瓑锛屼笉蹇呰鏈夌墿璐ㄤ笂鐨勫疄璐ㄦ帴瑙︼紝灏辫兘澶熻揪鍒颁粬褰卞搷銆佹敼鍙樸佽浆鍖栥佹秷鐏佹垨寮哄寲鏌愪簺浜嬬墿銆佷汉鐗╃殑鐩殑銆傞瓟娉曞氨鏄竴绉...
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禄京：绛旓細鐢辨斁杩欎簺鐤媯鐨勮寰,閽梙榄旀湳甯堥兘鍙楃敓鍛藉▉鑳,鑻 涓嶅垎浜榄旀湳鐨绉樺瘑,鎭愭曚細琚姝汇 鍥犳淇冧娇浜嗙涓鏈鑻辨枃榄旀湳涔︾睄鐨勮癁鐢,1584骞寸殑[宸湳鎺㈢储? (TheDiscoveryOfWichcraft)璇ヤ功浣滆呴浄鍚夎鍙茶冪壒鐨勭洰鐨,鏄负浜瑕鎷晳榄旀湳甯堢殑鎬у懡,涓轰簡灏 榄旀湳甯堢殑鎶宸т笌濂冲帆鐨勯偅鎭跺姏閲忎綔涓哄尯鍒,鍦ㄤ功涓彮闇蹭簡涓嶅皯榄旀湳绉樺瘑,浠ヨ瘉鏄庤繖浜涚湅浼...
