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BURTINIS

UNKING RINGS ROUTINE

FABIAN MustYdh'ons bLj R.O.tvans


30th September, 1947. DEAR FELLOW-MAGICIAN, About eighteen months ago, Fabian wrote up my routine with the Cups and Balls, and I published it. It met with instant and continuing success. People wrote to tell me that they were able to perform it with considerable success only a few days after reading the instructions. Among other enthusiastic reviewers, Sid Lorraine said, " The sleights are easily accomplished, and the loads and steals are explained much simpler than we've read elsewhere. . . . For someone who would like a fairly simple routine without too much digital doo-daddery, this is a made-to-order set-up." With his gift of lucid explanation, Fabian had certainly described my routine in such a way that, given the props and the instructions—and a modicum of showmanship—anyone could duplicate my presentation of this classic. Since then, magicians who have seen my routine with the Rings have asked if I ever intended to share that, too. I confess it hadn't occured to me, since my routine consists only of known moves—although some of them are not widely known. Still, just as some cakes are vastly better than others although all bakers have access to the same ingredients, so one man's arrangement of " moves" may result in an outstanding routine. So Fabian was called in again, and I feel sure you will agree that he has excelled himself. For those in search of a presentation of proven worth, here it is, as clearly as words and drawings can convey it. I hope you will find that your audiences enjoy it as greatly as mine do. Yours in magic,

BURTINI, 70,

WATERLOO

ROAD, SMETHWICK.


OVERTURE

I

N preparing this explanation of Burtini's masterly routine with the Linking Rings, one consideration took precedence of all others. That was the desire to give all the moves and positions in such careful and exact detail that ambiguity would be avoided and the reader would have no difficulty whatever in duplicating Burtini's presentation. This could have made for very tedious reading, certain phrases being repeated to a point of wearisomeness. The danger has been obviated by employing a few " shorthand " terms of which I think the reader will approve. Burtini's routine uses the standard set of eight rings, consisting of a chain of three, a chain of two, two singles and the Key. (The Key has a straight-cut gap.) The permanent set of three will always be referred to by the Roman symbol III, and the permanent set of two by the symbol II. When a ring is so held that it appears to the spectators as a circle it will be said to be " facing the audience." When the audience sees it as a straight line, it will be described as " edge-on." If you have ever tried to set on paper a Ring routine, I have no doubt that you will acknowledge the convenience of this system. It will be convenient, too, to give all moves and instructions in Roman characters and patter in italics. Almost without exception the move is described first and its accompanying patter immediately afterwards. The alternatives were to run patter and instructions in parallel columns, or to break up the instructions with patter lines. I think the method adopted makes for greater clarity. The figures in parentheses refer to the diagrams.

And Now— UP WITH

THE

CURTAIN!


Described by FABIAN.

F

ROM the thumb-crotch outwards along the left fingers, the arrangement of the rings is as follows : III, Key, II and two singles. The hand is palm upwards. The rings are shown separate by the old " counting" stratagem, but without counting. That is to say, the rings are held facing the audience and the right hand approaches. The right fingers pass through the rings and the left allows the outermost ring to drop on to them. The right hand is withdrawn just sufficient distance for the audience to see that the ring is not attached to any of the others (1). The right hand returns again and the second ring is dropped. Catching this ring, the right hand is withdrawn once more, but this time not so far. Returning, it catches the first and then the second ring of II, then the Key, and then, in succession, the rings of III. (2) All the rings are then returned to the left hand. (l)

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