Focus with disguise or incredible transformations

Magic, illusion, focus - this is just the name of what fascinates the viewer, keen on what is happening on stage stage or circus stage. The improbability of what the eyes see makes you believe in miracles. Not one generation of spectators remembers performances of popular illusionists, great magicians David Copperfield, Hmayak Hakobyan, Igor Kio. On their representations there were incredible miraculous transformations, the disappearance of a whole train, the movement from one box to another. And all this in front of the public, who was in the hall, and no one could understand how it happens. And each artist kept his original secrets of tricks secret, that's why all the numbers were unique and mysterious.

A bit of history

The number "transformation of costumes" or focus with disguise was a rarity in the former Soviet Union. Just on the fingers it was possible to count the artists of this genre. The fact is that the costumes that were sewed for this room were very expensive. Not everyone had such money for the purchase of fabrics and sewing. We must give credit to the circus and variety school - the numbers were so beautiful and exciting that artists were invited to perform abroad. However, the decision on the possibility of traveling for tours was decided not by the host party. Abroad went "proven" artists ....

With the number "transformation of costumes" are working titled Russian artists Olga Petryaeva and Maxim Kotov. Their performances are so original that they simply fascinate the viewer. The focus with disguise is carried out at such a speed that the audience simply wonder how this is possible. The room is interesting and not stable. Many circus artists who chose work in this genre, of course, bring something of their own. These are ideas, props, and costumes.

How does this happen?

Usually, the participants of the issue are a magician and an assistant. Sounds beautiful music. The focus with disguise begins. The girl's dress is of medium length, for example, in polka dots. She goes into the hoop, covered with a cloth, the magician lifts him up and after a couple of seconds lowers, and the audience sees the assistant in a dress of a different color and style. No one is around to change the girl. It remains to speculate to the surprised spectator that, probably, the dress changes color. And style? Maybe this is a trick of vision?

While the audience is perplexed by this disguise, the following is going on, no less interesting. Simply the magician covers the assistant with a screen-cloth, and the new dress is seen by the public with wide-open eyes and a dumb question - how does this happen?

During the time allotted for the given number, the assistant in the eyes of the spectators has time to change up to a dozen outfits, leading each audience to disguise the audience.

The secret of the focus with disguise

Everything is much simpler than it seems to the viewer. In order to perfectly work out the number, of course, the artists must act clearly, smoothly, changing one outfit after another, raising and lowering the screen, making movements distracting the attention of the audience. But the key to success of focus is properly sewn clothing. It's not just dresses, blouses, skirts and suits, but unique things that can transform, acquiring a new look right in front of the amazed public.

Both party numbers should be dressed so that the viewer does not suspect that they are dressed in several layers of clothes made from thin material. This is necessary in order to qualitatively carry out the focus with disguise. The exposure of the room is that the clothes are fastened with Velcro. Formed layer by layer so that, peeling off the Velcro on his shoulders, the blouse fell down, turning into a skirt. The top in this case will be the same color as the lowered skirt.

How to do a quick-disguise focus

Each pair of artists has its own fastening technology and its own costumes. There are couples who do not recognize any stickers, they have a number built on hooks and a line. Transformations of costumes are also different. Some leave the removed costumes on the bottom of the round screen, others transform the costumes, leaving on themselves, as if leafing through the pages of the book.

Even slightly opening the veil of secrecy, telling how this unique trick is done, the spectator who came to the viewer will be interested in the trick with changing clothes. Exposure, which is always sought after by the inquisitive spectators, will not affect the perception of the number, but, on the contrary, will cause admiration and admiration of talented artists.