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Levitation (illusion)
Levitation (illusion)
Levitation (illusion)
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A poster for Harry Kellar's "Levitation of Princess Karnac"

A levitation illusion is one in which a magician appears to defy gravity by making an object or person float in the air. The subject may appear to levitate unassisted, or it may be performed with the aid of another object (such as a silver ball floating around a cloth) in which case it is termed a "suspension".[citation needed]

Various methods are used to create such illusions. The levitation of a magician or assistant can be achieved by a concealed platform or hidden wires, or in smaller-scale illusions by standing on tiptoe in a way that conceals the foot that is touching the ground.

Of people

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Asrah levitation

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Main article: Asrah levitation

In Asrah levitation, an assistant lies down and is fully covered with a cloth. The assistant then appears to levitate beneath the cloth, before slowly floating down. As the magician pulls the cloth away, the assistant is seen to have vanished.

The trick uses a structure of thin wire that is placed over the assistant at the same time as the cloth. The wire structure can be raised while the assistant escapes unseen.[1]

This illusion is credited to Servais Le Roy and was first performed with his wife as assistant in 1902.[2]

Balducci levitation

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The Balducci levitation
Main article: Balducci levitation

The performer stands at an angle facing away from the spectators and appears to levitate a few inches above the ground. The effect generally does not last for more than five seconds. The performer's feet return to the ground, and the effect is complete.

The trick is performed by standing on the front of one foot, while raising one foot and the visible part of the other foot, blocking the view of the front of the supporting foot with the other foot and the rear part of the supporting foot.

This illusion was first described by Ed Balducci in 1974. Its inventor is unknown.

King levitation

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The King levitation
Main article: King levitation

The performer is viewed from the side. The performer's legs are commonly covered for a moment at the beginning of the effect, perhaps by a jacket. The performer's whole body is clearly visible. The performer suddenly appears to levitate a few inches above the ground. Both feet are clearly seen to be in the air. The levitation usually lasts just a few seconds.

The trick is performed by removing the shoe furthest from the audience, and turning that foot 90 degrees away from the audience, with the empty shoe clamped between both feet. When the performer stands on the tip of the hidden foot, the two shoes are raised together, and the audience assumes that these are both of the performer's feet.

This illusion is also known as the King Rising levitation.

Chair suspension

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The chair suspension is an illusion where a person appears to float in midair, supported only by the back of a fold-up chair.[citation needed]

"The Levitation of Princess Karnac"

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Use of a goose-necked support bar to pass a hoop around a body in Harry Kellar's levitation illusion

American magician Harry Kellar performed a trick where his assistant, introduced as a Hindu princess, was brought onto the stage apparently sleeping on a couch. He would then levitate her, passing a hoop back and forth along her body to show that she was not being suspended.

Kellar supposedly developed this trick by abruptly walking onto the stage during a levitation show by John Nevil Maskelyne, seeing what he needed to know, and leaving.[3] The Buffalo writer John Northern Hilliard wrote that the levitation was a marvel of the twentieth century and "the crowning achievement of Mr. Kellar's long and brilliant career."[3]

The trick was done by having the assistant rest on a flat board concealed inside her dress, connected to a metal bar going out the side into the backstage which was hidden by the assistant's dress and the stage curtain. The other end of the bar was connected to a machine which could raise and lower the woman. To allow Kellar to "prove" with the hoop that she was floating, the bar was formed as a rough "S" shape, which would allow him move the hoop through the length of her body in either direction.[4]

David Copperfield's flying illusion

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Main article: David Copperfield's flying illusion

Magician David Copperfield has performed an illusion in several magic shows since 1992 in which he appears to fly on stage for several minutes, while surrounded by audience members. During the trick, Copperfield flies acrobatically on the stage, performs a backflip in midair, and then has spinning hoops passed around him, supposedly to prove that he is not suspended by wires.[5] Copperfield then descends into a glass box, which is covered with a lid, and continues to float inside it.

The method was created by John Gaughan,[6][7] who described how the trick works in US Patent #5,354,238.[6][7] The illusion utilises a series of wires controlled by a complex computer-controlled rig above the stage. In the glass box demonstration, the top of the box is threaded between the two sets of wires in a vertical position.

Of objects

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Blackstone's Floating Light Bulb

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Harry Blackstone, Sr. was famous for performing a "Floating Light Bulb" illusion, in which an illuminated lightbulb – supposedly made by Thomas Edison – was produced and illuminated in Blackstone's hands with no visible means of power. The bulb would then be extinguished and levitated into the air, where it would be illuminated again, before being floated out over the audience, still lit.[8] Dutch magician Hans Klok became the custodian of the illusion after the death of Blackstone, Jr.[9]

Hummer card

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The Hummer card is a levitation trick in which a regular playing card floats, hovers, spins and flies around the body of the magician in a seemingly impossible manner. [citation needed]

Fearson's floating cigarette

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Main article: Fearson's floating cigarette

A trick in which a cigarette floats around the performer, moving from hand to hand before suddenly dropping down near the floor. As it moves up again it passes through a ring formed by the performer's fingers, as proof that there is no external support, and ends up in the performer's mouth.

References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Levitation (illusion)

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from Grokipedia
A levitation illusion is a classic stage magic effect in which a magician or illusionist causes an object, such as a , table, or small item, to appear suspended or floating in mid-air without visible support, creating the impression of defying . These illusions rely on clever , optical principles, and psychological misdirection to achieve their deceptive impact, often performed in theaters or on television to evoke wonder and astonishment among audiences. Levitation illusions emerged prominently during the of stage magic in the late , influenced by the rise of spiritualism and advancements in mechanical technology like steel frameworks and passenger lifts. One of the earliest notable examples was "The Floating Lady," introduced by John Nevil Maskelyne and George Alfred Cooke in 1873 at London's , where a volunteer appeared to levitate horizontally above a bench before gently descending. This trick, refined over time, challenged audiences' perceptions and drew from earlier inspirations, such as Jean-Eugène Robert-Houdin's ethereal suspension act in 1850, which evoked the lightness of ether anesthesia. Throughout the , levitation illusions evolved with innovations in materials and presentation, becoming staples in grand illusion shows by performers like , , and later , who debuted the "Flying" illusion—invented by John Gaughan and patented in 1994—in 1992, combining harness systems with dynamic movement for a more fluid, audience-interactive effect. Variations include small-scale levitations of everyday objects using threads or mirrors, as well as large-scale productions like Kalanag's multi-technique levitation in the 1950s, which integrated lighting and staging to enhance the supernatural aura. These effects not only entertain but also highlight the interplay between science, , and , as advanced mechanisms are concealed to mimic the impossible, aligning with Arthur C. Clarke's observation that sufficiently sophisticated technology can appear magical.

Overview and Principles

Definition and Basic Concepts

Levitation illusions represent a fundamental category of stage magic, wherein performers create the visual effect of suspending people or objects in mid-air, simulating defiance of through concealed mechanical supports, optical manipulations, or psychological deceptions that exploit audience . These theatrical tricks aim to evoke astonishment by presenting the impossible as momentarily plausible, often involving the apparent floating of a volunteer, assistant, or everyday item without visible means of support. Emerging in the mid-to-late amid the rise of and professional stage magic, levitation illusions capitalized on advancing theatrical technology and public fascination with scientific marvels to deliver spectacles that blurred the line between entertainment and the . Pioneered in venues like London's , these effects quickly became hallmarks of grand illusions, drawing crowds eager for displays that challenged everyday understanding of physics. The term "," derived from the Latin levitas meaning lightness, was coined in in the last quarter of the 19th century to designate any form of object suspension, whether in the context of spiritualism or stage illusion, marking a shift toward more elaborate, audience-focused performances. The psychological allure of levitation illusions stems from techniques like misdirection, where performers use —such as or gestures—combined with strategic and staging to redirect visual attention, heightening the audience's and temporary . This manipulation leverages expectations of natural laws, making the illusion feel profoundly real in the moment and reinforcing the emotional impact of apparent impossibility. In contrast to supernatural claims of levitation, such as those in spiritualist séances purporting paranormal or mystical levitation of bodies, stage illusions serve an explicitly entertainment-oriented purpose, relying on skill and artifice rather than any genuine transcendence of physical laws. Similarly, they differ from legitimate scientific levitation methods, like magnetic or acoustic suspension, by prioritizing dramatic effect over practical application or empirical validation.

Common Techniques

Mechanical supports form the backbone of many levitation illusions, providing the physical means to suspend or elevate performers without visible aid. Hidden wires, often made from high-strength materials like or aircraft cable, are attached to harnesses worn under to lift the subject, allowing controlled movement that mimics free-floating. These systems are typically anchored to overhead points, with the wires camouflaged by or props to remain undetectable from the audience's viewpoint. Harnesses distribute weight evenly across the body, usually securing around the , hips, and legs to prevent discomfort or during suspension. Telescoping rods, which extend and retract smoothly, serve as temporary supports for elevation effects, such as rising from a seated position, and can be concealed within costumes or set pieces for seamless deployment. Concealed platforms or elevators, built into the stage floor or integrated into props, enable vertical movement by raising the subject on a hidden base, often covered by or trapdoors to disguise the mechanism. Optical illusions play a crucial role in enhancing the realism of by manipulating to hide or distort supporting elements. Mirrors are strategically placed at angles to reflect or alternative views, creating the appearance of unsupported floating while blocking sightlines to actual supports like wires or platforms. techniques exploit depth cues, positioning the performer relative to the backdrop so that scale and appear altered, making the levitation seem more impossible from certain audience angles. is employed to obscure supports further, with backlighting or spotlights casting shadows that blend wires into the background, or fog and diffusing to reduce visibility of fine details like harness attachments. Misdirection and performer skills are essential for concealing the of levitation, relying on psychological and performative elements to control audience focus. Audience positioning is carefully managed, with seating arranged to limit optimal viewing angles that might reveal supports, ensuring most spectators see only the intended illusion. Cloth draping over props or the performer's body serves as both a physical barrier and a , momentarily covering mechanisms during transitions while drawing eyes to the fabric's movement. Rapid movements by the performer or assistants, combined with engaging or gestures, overload the audience's attention, preventing scrutiny of key actions like wire adjustments. , such as or pointing, further direct overt attention away from the trick area, enhancing as supported by eye-tracking studies in routines. Safety considerations are paramount in rigging for levitation illusions, particularly with wire-based systems, to mitigate risks from dynamic loads and . Weight limits are determined by the working load limit (WLL) of equipment, typically calculated as the minimum breaking strength (MBS) divided by a safety factor of 5:1 to 10:1 for aerial human suspension, ensuring the setup can handle at least five to ten times the performer's weight to account for motion-induced forces. For example, a 150-pound performer requires rigging with a WLL of at least 750-1,500 pounds. Rehearsal protocols involve multiple dry runs with , professional rigger inspections, and emergency procedures, including backup redundancies like secondary safety lines, to verify stability before live performances. All harnesses and wires must comply with industry standards for theatrical , with regular to prevent failures.

Historical Development

Early Origins in Stage Magic

The emergence of levitation illusions in stage magic can be traced to 19th-century , where the rising popularity of spiritualism prompted magicians to both expose fraudulent phenomena and adapt them for theatrical entertainment. In 1875, English magician John Nevil Maskelyne published Modern Spiritualism: A Short Account of Its Rise and Progress, with Some Exposures of So-Called Spirit Media, a seminal work that detailed the tricks used by mediums to simulate levitations and other supernatural effects, such as those performed by . Maskelyne's exposé, drawing from his own investigations, argued that these feats relied on mechanical contrivances rather than spirits, thereby encouraging the integration of similar illusions into legitimate stage performances to demonstrate rational entertainment over . Pioneering performers like Maskelyne, in partnership with George Alfred Cooke and later , brought these adapted levitations to prominence at London's , which they transformed into a dedicated venue for illusion shows starting in 1873. Their presentations, running for over three decades until 1904, featured early cloth-covered levitation effects where a performer appeared to float under a draped fabric, concealing supports and enhancing the mystical aura while echoing spiritualist tableaus. These shows, such as "The Levitation of the Enchanted ," showcased Maskelyne's innovations in mechanical rigging, positioning stage magic as a counterpoint to spiritualist deceptions and attracting audiences seeking wonder without belief in the . The influence of spiritualism extended across the Atlantic, where American magician similarly debunked fake mediums in his acts while developing comparable illusions for public amusement, emphasizing skill over claims. Kellar's exposures, often integrated into his traveling spectacles from the onward, highlighted how mediums manipulated lighting and wires to fake levitations, mirroring techniques he refined for stage use. This dual role of debunking and performing helped legitimize as a staple of professional magic. Technological advancements in the 1800s, including introduced to theaters around 1817 and basic borrowed from theatrical mechanics, enabled these illusions by allowing precise control of shadows and suspension systems. Gas lamps provided diffused illumination to obscure hidden wires, while early frameworks—precursors to modern elevators—facilitated smooth, seemingly effortless ascents, transforming rudimentary spiritualist tricks into sophisticated spectacles.

Key Innovations in the 19th and 20th Centuries

The late 19th century saw foundational advancements in levitation illusions through the work of Professor Hoffmann, whose 1876 book Modern Magic detailed early conceptual methods for stage levitations, including mechanical supports and misdirection techniques that influenced subsequent designs. These ideas laid the groundwork for more elaborate performances, emphasizing the integration of hidden frameworks to create the illusion of weightlessness. By the early 20th century, Servais Le Roy refined these concepts with his 1902 Asrah levitation, introducing a wire-frame structure that allowed the assistant to float horizontally above a couch while a hoop was passed over the body, enhancing visual proof of suspension and preventing easy exposure. Le Roy's innovation, performed with his wife Talma as assistant, marked a shift toward more portable and mechanically sophisticated setups suitable for touring shows. Harry Kellar popularized in American stage magic with his "Levitation of Princess Karnac" in 1904, adapting an earlier illusion from John Nevil Maskelyne and incorporating an S-shaped support bar concealed within flowing drapery to enable multi-directional hoop passes over the floating assistant. This effect, presented as a hypnotic induced by an Indian mystic, captivated audiences during Kellar's extensive tours, where it became a centerpiece of his large-scale productions. Kellar's version drove competitive innovation among magicians, as he refined the mechanics over years to ensure seamless execution under theater lighting, solidifying as a marquee attraction in early 20th-century entertainment. Howard Thurston built on Kellar's legacy after acquiring his show in 1908, introducing variations to the Princess Karnac levitation that incorporated audience participation, such as inviting spectators to examine props beforehand and integrating interactive elements like card selections to heighten engagement. Thurston's adaptations, including enhanced where the assistant "awoke" mid-levitation to demonstrate no , were tailored for circuits and grand tours, reaching millions through 36-act programs that blended illusion with spectacle like water fountains in finales. This succession from Kellar to Thurston exemplified the era's magician rivalries, where proprietary effects were fiercely guarded yet evolved through performance demands, boosting 's prominence in American popular culture. In the mid-20th century, advanced object levitations, most notably with his "Floating Light Bulb" introduced in the 1920s, where an illuminated bulb was removed from a lamp, floated untethered through a hoop, and maneuvered over the audience while remaining lit by concealed . This innovation integrated electricity for glowing effects, creating a mesmerizing interplay of light and motion that distinguished object suspensions from human levitations and suited intimate venues as well as larger theaters. Blackstone's touring shows, spanning the to 1950s, popularized these refinements amid ongoing competition, ensuring levitation illusions remained a staple of stage magic's .

Levitation of People

Asrah Levitation

The Asrah levitation is a classic stage illusion in which a appears to float horizontally in the air before vanishing dramatically. The performer typically begins by hypnotizing the , who reclines on a specially designed or table. A large cloth is then draped over the assistant, concealing her form as the couch is wheeled away, revealing the floating shape beneath the fabric raised several feet into the air—usually 4 to 6 feet above the stage. As the levitated form hovers, often passing over the magician's head, the cloth is suddenly pulled away, causing the assistant to disappear instantly, sometimes reappearing elsewhere in the theater for added surprise. This illusion was invented and first performed by Belgian magician Servais Le Roy in 1902, featuring his wife Julie Le Roy (known professionally as Talma) as the assistant. Le Roy's innovation involved a collapsible wire frame that could be extended and retracted discreetly, allowing for the smooth horizontal suspension and the climactic vanish. The method relies on a hidden wire armature placed over the assistant simultaneously with the cloth; the wires, suspended from above and concealed by the fabric, support a rigid form that maintains the outline of the body while the assistant slips through a in the into a hidden compartment below the stage. The cloth's drape effectively masks the frame's extension and collapse, creating the illusion of unsupported levitation. The Asrah levitation gained immediate popularity for its visual spectacle and seamless integration of suspension and disappearance, becoming a staple in grand illusion acts. Servais Le Roy's version toured extensively, captivating audiences with its ethereal presentation. Its enduring appeal lies in the apparatus's reliability and adaptability for large stages, where lighting and misdirection enhance the impossible appearance of the floating, vanishing figure; performers continue to feature refined variations in modern shows due to the effect's timeless dramatic impact.

Balducci Levitation

The Balducci levitation is an impromptu self-levitation illusion in which the performer appears to rise several inches off the ground without visible support, relying on precise body control and viewer perspective. Developed by magician Ed Balducci in 1974 specifically for settings, the effect was first documented under the title "Impromptu Levitation" in the July 1974 issue of The Pallbearer's Review (Volume 9, Number 9, p. 755). Balducci learned the technique from performer Erwin Levine, though the original inventor remains unknown. It gained widespread popularity among street performers in the 1980s due to its simplicity and lack of required apparatus, allowing spontaneous execution in everyday environments. In performance, the magician positions themselves facing away from the at a specific angle, typically 45 degrees and about 8-10 feet distant, to limit the viewing perspective. The performer then rises onto the toes of the rear foot while simultaneously bending the forward knee to lift the front foot off the ground, creating the appearance of levitating 6-12 inches. This method exploits , as the bent forward leg obscures the supporting toes from the 's line of sight. No props or gimmicks are necessary, enabling the to be performed anywhere without preparation, which contributes to its appeal in casual, street-based magic. Key to the effect's success is the careful management of balance and timing, often enhanced by psychological misdirection to draw attention away from the feet. Variations include subtle adjustments to the rise height—achieved by varying toe extension—and speed, with slower ascents building suspense while quicker ones emphasize surprise. Performers emphasize misdirection through , gestures, or environmental distractions to further conceal the supporting foot, making the levitation seem more convincing from controlled angles. Some adaptations incorporate minor body shifts for greater height illusion, though these require more practice to maintain stability.

King Levitation

The King levitation, also known as the King Rising levitation, is a self-performed illusion in which the magician appears to rise unsupported 3-4 inches off the ground while facing the directly, with both feet visible from most angles to emphasize the impossibility of the effect. Developed by magician in the early 2000s, it was released as the first original magic product by Ellusionist around 2003, serving as a portable, impromptu alternative to larger stage levitations and an improvement on the by allowing better audience-facing presentation. The performer stands on a seemingly ordinary surface, then slowly elevates, maintaining balance as if defying , often accompanied by dramatic lighting or music to heighten the supernatural atmosphere. This solo method contrasts with assistant-dependent levitations by relying entirely on the magician's preparation and skill, making it suitable for intimate parlor or performances where audience proximity demands flawless execution. The illusion exploits misdirection and perspective, with the performer using body control to create the rise while concealing the method through clothing and positioning. After the , the performer can walk forward, allowing spectators to examine the feet and shoes, reinforcing the apparent impossibility. No extensive rigging is required, enabling quick setup and reset, ideal for walk-around or street magic adaptations in diverse environments like hotel lounges or small venues where space and time are limited. Its advantages include minimal props, portability, and adaptability without assistants, making it a staple for solo acts since its release.

Chair Suspension

The Chair Suspension is a renowned stage illusion in which a person appears to levitate while supported only by the backrest of a single chair, demonstrating the magician's skill in creating an impression of defying . First developed as a modern apparatus in the mid-20th century, it builds on earlier traditions of balancing and suspension effects in , evolving from rudimentary props to a more refined and portable design suitable for theater performances. In a typical , the magician positions two folding facing each other on , placing a narrow board across their upper backs to form a makeshift platform. A volunteer from the or a trained assistant then lies on the board, often with their head and feet extending slightly beyond the chairs for added precariousness. The person is draped with a large cloth to obscure the setup, after which the magician dramatically removes the supporting chair beneath one end of the board. With misdirection—such as drawing attention to the cloth or the volunteer's relaxed pose—the board is then slid away entirely, leaving the individual seemingly suspended horizontally in mid-air atop the remaining chair's backrest. To reinforce the impossibility, a flexible hoop or ring is frequently passed around the floating figure, proving the absence of visible supports. The effect concludes with the person safely lowered back to the ground, often amid for the apparent feat. The secret behind the illusion lies in a concealed metal framework integrated into the 's . This frame extends from the 's weighted base, running vertically and horizontally under the board and along the person's body, distributing the weight evenly while remaining invisible from the audience's perspective. Strategic angles of the , combined with the enveloping cloth, block any sightlines to the supports, allowing the to appear genuine even under . Early versions may have used simpler wooden constructions, but later refinements by makers enhanced durability and ease of setup. Safety is paramount in staging the Chair Suspension, as the illusion requires the participant to maintain a rigid, horizontal posture for several minutes. Magicians carefully select volunteers based on , ensuring they can tolerate the position without strain, and often use padded surfaces beneath the apparatus to mitigate risks of falls if the frame shifts or the routine is disrupted. Professional performers rehearse extensively to perfect timing and balance, prioritizing the of all involved over dramatic flourishes.

The Levitation of Princess Karnac

The Levitation of Princess Karnac is a classic vertical levitation illusion debuted by American magician in 1902, after he sent an assistant to spy on John Nevil Maskelyne's similar routine at London's to obtain the secret when Maskelyne refused to sell it. Kellar, known as the "Dean of American Magicians," introduced the act as a highlight of his elaborate stage shows, featuring his assistant portrayed as the sleeping Princess Karnac, an exotic figure evoking Eastern mysticism to captivate audiences during the height of spiritualism's popularity. In the performance, Princess Karnac lies on a beside a cabinet on a brightly lit stage, appearing to fall into a hypnotic induced by Kellar. A large cloth is draped over her body as she rises vertically 6-8 feet into the air, floating horizontally while the cloth billows to conceal her form; Kellar then passes a hoop—or in some accounts, demonstrates clearance using a held horizontally—over and around her to prove no visible supports or wires are present, before she descends gracefully back to the . The illusion's dramatic staging, with the assistant remaining and the cloth providing a of mystery, emphasized the over mechanical trickery, aligning with early 20th-century audiences' fascination with the . The mechanism relies on a concealed S-shaped metal bar extending from the cabinet's base, supporting the assistant's body at the hips and shoulders via a rigid metal board hidden beneath her costume and the cloth; this bar, connected to a lifting apparatus (possibly hydraulic, with input from companies like Otis Elevator), allows controlled vertical and slight horizontal movement while enabling the hoop pass in a figure-eight path that appears straight from the audience's viewpoint. The design's ingenuity lies in its , using misdirection from the cabinet and cloth to hide the support, requiring the assistant to maintain rigid posture with strong core strength to avoid sagging. Kellar's version became a of illusion design, praised for its elegant simplicity and visual impact, and was later acquired and performed by successors including , who refined its presentation during his world tours, and , ensuring its place as a in stage magic that influenced generations of levitation effects.

David Copperfield's Flying Illusion

David Copperfield's "Flying" illusion was developed by illusion engineer John Gaughan specifically for Copperfield's 1992 television special, The Magic of David Copperfield XIV: Flying – Live the Dream. Gaughan designed the apparatus as a harness system to enable apparent free-flight, with the application filed on June 7, 1993, and issued on October 11, 1994, under U.S. Patent No. 5,354,238. This innovation built on traditional wire-suspension techniques but advanced them for dynamic, multi-directional movement suitable for television broadcast. In performance, Copperfield appears to levitate and "fly" both horizontally and vertically across the , often passing through rotating hoops to emphasize the of unsupported motion. The routine includes mid-air interaction with a selected volunteer, whom Copperfield holds and maneuvers as if carrying them in flight, allowing the volunteer to verify the from without detecting support mechanisms. The effect culminates in Copperfield soaring over the , creating an immersive experience that blends with aerial spectacle. The mechanism relies on two fan-shaped arrays of ultra-fine wires (approximately 0.010 inches in diameter, painted dark for ) attached to a custom harness worn by the performer, which includes a and waist support for comfort during extended suspension. These wires connect to an overhead fly bar and rotator system powered by motors, sprockets, and hydraulic lifts, enabling precise control over elevation, rotation, and lateral movement via a assembly that permits 360-degree freedom. Visibility of the wires is concealed through strategic lighting, atmospheric effects like , and performer positioning perpendicular to the audience's , ensuring the appears seamless on both stage and screen. The illusion's debut in the television special marked a in broadcast , captivating millions and setting a new standard for effects by integrating advanced with emotional around the "dream of flight." Its success influenced subsequent adaptations in Copperfield's live theater productions and inspired similar aerial illusions in large-scale venues, though the patented system remains exclusive to his performances.

Levitation of Objects

Blackstone's Floating Light Bulb

debuted the Floating Light Bulb illusion in the 1930s during his tours, establishing it as one of his signature effects in stage magic. The illusion featured an apparently ordinary that appeared ungimmicked, removed directly from a lamp and illuminated throughout the performance. This trick capitalized on the era's fascination with , blending technological wonder with magical deception to captivate audiences in darkened theaters. In performance, the magician unscrews the lit from its socket and causes it to levitate slowly from hand to hand, rotating gently while remaining aglow, before passing through a small hoop and drifting over the audience's heads. The effect relies on precise misdirection to conceal the supporting elements, creating the illusion of an impossible suspension powered by no visible means. The original apparatus was manufactured under the supervision of , who provided the specialized to ensure reliable illumination without external wiring. The mechanism involves a thin, nearly invisible thread or wire extending from the performer's sleeve to support and manipulate the bulb's movement, while a concealed battery powers the filament through hidden contacts in the base. Gimmicked components, such as battery tubes and replacement bulbs, allow for the sustained glow and rotation, all hidden by and staging techniques. This combination of simple mechanical support and electrical ingenuity made the illusion practical for environments but challenging for smaller venues. The illusion's legacy endured through its inheritance by , who refined and popularized it in his own acts, including a notable 1986 television performance. In 1985, on the centennial of his father's birth, Blackstone Jr. donated the original Edison-supervised apparatus to the , marking the first acquisition of magic paraphernalia by the museum and cementing the trick's status as an iconic fusion of light effects and levitation in illusion history.

Hummer Card

The Hummer Card, also known as Hummer's Whirling Card, is a classic levitation illusion involving a single that appears to defy by floating and spinning in mid-air. Invented by amateur magician Bob Hummer and first marketed in 1943, the effect relies on principles of invisible thread manipulation that build on earlier thread-based levitation techniques in history. In performance, a spectator typically selects and signs a playing card from an ordinary deck, which is then held at the performer's fingertips and tossed gently into the air. Instead of falling, the card rises slowly, rotates horizontally like a helicopter blade, and hovers while circling the performer's body in a hummingbird-like manner, creating an impression of independent flight. The performer can control the card's movements—accelerating its spin, directing its path, or making it descend back to the hand—before handing it out for immediate examination, leaving no visible apparatus. This sequence emphasizes visual impossibility in an intimate setting, often lasting 30-60 seconds to build wonder without prolonged setup. The mechanism employs a short length of invisible thread, usually made from fine or specialized magician's thread, looped from a concealed attachment point on the performer's body—such as a hidden reel in the , a loop around the neck, or a tension device in the hand—to the card's edge via a subtle or tape. Tension is maintained and adjusted through imperceptible body shifts, breathing, or finger tilts, allowing the card to "float" upward against while the spin is imparted by an initial flick. This setup exploits the thread's near-invisibility under and the card's lightweight nature for realistic motion, though it requires practice to avoid tangles or breaks. Due to its compact scale, use of a borrowable prop, and angle-proof nature for small audiences, the Hummer Card is particularly suited for parlor and close-up magic venues, where it serves as a surprising interlude in card routines or stand-alone astonishment. Its enduring popularity stems from the balance of simplicity in execution and high visual impact, influencing countless thread-based levitations in modern literature.

Fearson's Floating Cigarette

The Fearson's Floating Cigarette is a levitation illusion developed by magician Steve Fearson in 1990, specifically designed for walk-around and casual performance settings where portability and impromptu interaction are key. First marketed through Fearson's own publications and later as a commercial product, it quickly gained traction among professional magicians for its simplicity and visual impact in everyday environments like bars or parties. The routine was notably demonstrated by Fearson at the Fédération Internationale des Sociétés Magiques (FISM) convention in 1991, contributing to its early recognition within the magic community. In performance, the effect begins with a lit that appears to rise slowly from its pack or rest position, then floats freely between the performer's hands, often suspended momentarily on the or fingertip for added drama. The can descend toward the floor, rotate in a circular path, and pass through a borrowed hoop or ring held by a spectator, demonstrating no visible support. It concludes with the extinguishing mid-air or rising back into the performer's mouth, creating a startling and examinable climax that encourages audience interaction. This sequence emphasizes fluid motion and misdirection typical of , allowing the illusion to play well from multiple angles in intimate settings. The mechanism relies on a short length of invisible thread attached via the Fearson Hookup—a subtle thumb-based reel system that provides precise control over the . A small amount of flesh-colored or a similar secures the thread to the cigarette's filter, enabling attachment and detachment without detection, while slack in the thread allows the object to pass through the hoop unimpeded. This setup uses high-quality, invisible materials like EZ-Strip thread to minimize breaks and ensure reliability during performance. The trick's popularity stems from its market availability as a complete kit, including instructional materials and accessories, which has made it accessible to both amateurs and professionals since the . It has been praised for its angle-proof design, allowing clean execution even in unguarded casual environments, and has been adopted by high-profile magicians such as for television appearances. Endorsements from experts like Michael Ammar and Jonathan Pendragon highlight its status as a modern classic in levitation effects, influencing subsequent thread-based illusions.

Modern Variations

Street and Close-Up Levitations

Street and close-up levitations represent a portable subset of illusion techniques adapted for informal, everyday environments, emphasizing minimal props and rapid execution to captivate audiences in urban or intimate settings. The surge in street magic during the 1990s and 2000s was driven by performers like , who integrated no-props levitation methods into spontaneous public interactions, shifting the genre from controlled stages to dynamic cityscapes. Blaine's 1997 ABC special Street Magic showcased these illusions among pedestrians in locations like New York and New Orleans, capturing genuine astonishment and establishing street levitation as a hallmark of accessible wonder. A foundational example is the , an impromptu self-suspension where the performer rises slightly on one foot while angled away from viewers, popularized by Blaine for its reliance on perspective and balance rather than elaborate . In variants, magicians adapt levitations for handheld scales using borrowed objects to heighten intimacy and impossibility. The rising ring illusion, for instance, employs a stretched between the fingers to simulate a spectator's ring ascending independently, achieved through controlled tension release and finger positioning. Similarly, thread-based effects like the levitating ring on a involve an invisible filament attached to the object, allowing it to hover and respond to gestures while concealed by hand movements and proximity. These methods extend to coin floats, where fine threads enable subtle aerial maneuvers, prioritizing over spectacle. Key techniques in these performances focus on impromptu preparation, such as body-concealed props like elastic threads or bands, which allow seamless integration without visible setup. Environmental misdirection plays a crucial role, leveraging urban elements—crowds, shadows, or ambient noise—to divert attention from subtle cues, enabling reliable execution in variable conditions. This evolution has transformed illusions from theatrical staples to viral phenomena on , with clips of street feats like Dynamo's 2013 London bus garnering millions of views and sparking global interest. However, the uncontrolled nature of these spaces introduces safety challenges, including risks from uneven surfaces during balances or public interference, as evidenced by police interventions in high-profile urban stunts.

Contemporary Stage and Television Illusions

In the early 21st century, levitation illusions have become a staple of television magic specials and large-scale stage productions, often amplified by high-production values, celebrity cameos, and urban settings to create a sense of immediacy and spectacle. Magicians like Criss Angel, Dynamo (Steven Frayne), and David Blaine have popularized these effects through broadcast media, blending traditional illusion techniques with modern staging to captivate global audiences. These performances frequently draw millions of viewers, emphasizing visual drama over intimate close-up work, and have helped revitalize interest in grand illusion magic. Frayne, who retired the stage name "Dynamo" in 2023, continues to influence contemporary magic through television and live performances. Criss Angel's levitation feats, prominently featured in his A&E series Mindfreak (2005–2010), exemplify the integration of television storytelling with daring outdoor stunts. In the season 3 premiere, Angel reportedly levitated over 500 feet above the Luxor Hotel and Casino in Las Vegas, positioning himself within the hotel's intense 42.3 billion candlepower beam of light—one of only two man-made structures visible from space—while crowds gathered below. This illusion, part of his residency buildup at the venue, combined aerial suspension with thematic elements tied to his Cirque du Soleil collaboration Believe, and was witnessed by onlookers including reality TV personality Duane "Dog" Chapman. Angel's ongoing stage show at Planet Hollywood Resort & Casino continues to showcase variations of his "revolutionary levitation," described by peers as among the greatest illusions in modern magic. Dynamo has similarly elevated levitation through his Watch channel series Magician Impossible (2011–2014), which averaged 1.5 million UK viewers per episode and reached 25 million in the US via the History Channel. A standout moment occurred in series 2, where he appeared to levitate in front of Rio de Janeiro's Christ the Redeemer statue, his body suspended mid-air against the iconic backdrop in a stunt noted for its provocative blend of reverence and impossibility. Another viral television segment from series 3 showed Dynamo levitating beside a moving London bus in central London near Westminster Bridge, his right hand seemingly anchoring him as his feet dangled freely, captured by surprised passersby and bus passengers during a soft drink brand promotion. These effects, often performed in everyday environments, underscore Dynamo's focus on accessible yet astonishing visuals. David Blaine's contributions to television levitation date to his ABC specials, such as David Blaine: Street Magic (1997), where he performed apparent self-levitations in urban settings, rising a few feet off the ground before astonished pedestrians. These moments, part of Blaine's endurance-influenced style, amazed American audiences and set a template for raw, unpolished presentations that contrasted with polished stage acts. By the late , Blaine's levitation feats had established him as a pioneer in blending with broadcast appeal. On the stage front, contemporary productions like Antonio Díaz's El Mago Pop, which debuted on Broadway in 2023 after success in and , incorporate levitation as a seamless narrative element amid intimate illusions. Díaz's act features performers suspended in mid-air during dreamlike sequences, contributing to the show's charm and its role in a broader resurgence of magic theater. Such stage works highlight levitation's evolution into multimedia spectacles, often using lighting and projections to enhance the ethereal quality without relying solely on scale.

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