The Dying Art of Magic
Augusto Corrieri
Performance Research November 16, 2024 DOI: 10.1080/13528165.2024.2608482 (opens in new tab)
Study at a glance
AI-extracted from the abstract| Characteristics | Theoretical or philosophical paper Peer reviewed |
|---|---|
| Topics | Mysticism |
| Keywords | Magic telescope Uncanny Performance art Context archaeology Skepticism Literature Aesthetics Art history Visual arts Jungian analytical psychology |
| Key points | Argues that stage magic, though secularized and theatricalized, retains a link to mystical and shamanic practices, and that the instability between life and death, theatre and reality, opens a different way of understanding the art of magic. |
Abstract
The act of dying can be seen as somewhat ‘irreal’, as Maurice Blanchot wrote, especially so when it occurs in the context of a magic show. In different ways, the performance of magic plays with the levels of reality of theatre itself, whilst at times conjuring the possibility of an afterlife, and communing with the dead. The essay explores the question of theatre and dying by examining UK magician’s Tommy Cooper’s uncanny stage death on live television in 1984, and a seemingly death-defying stunt by Vegas magicians Penn & Teller, featuring a loaded nail gun. Tommy Cooper’s variety act is analysed for its incongruous echoes of a mystical ceremony, and the possibility of journeying to the other side of life: what is proposed is that, however secularized, theatricalized and aestheticized, stage magic retains a link to the mysteries plumbed by mystics and shamanic practitioners. Penn & Teller’s nail gun act is revealed by the magicians themselves to be a sham, producing a kind of ‘critical spectatorship’ (Karen Beckman); yet this familiar sceptical stance can also be read as a form of lucid dreaming: Penn & Teller’s stage antics ultimately dissolve the performance itself, as well as the audience’s attachment to anything deemed ‘real’, thereby aligning themselves with mystics and sages.Ultimately, the essay examines how the instability of the divide between life and death, theatre and ‘reality’, opens up a different way of understanding the art of magic. The magician’s performance is seen to be precariously positioned between two poles: on one hand, the openly acknowledged trickery and deception for entertainment purposes; on the other, the conjuring of other realities and cosmologies, returning us to the possibility of journeying between worlds, and powerfully reminding us of life itself as illusion.
Comparable studies
Other theoretical and historical papers on mysticism, most cited first.
| Study | Year | Design | Participants |
|---|---|---|---|
| The mystical mind: probing the biology of religious experience | 2000 | Theoretical or philosophical paper | |
| Religious and Mystical Experiences as Artifacts of Temporal Lobe Function: A General Hypothesis | 1983 | Theoretical or philosophical paper | |
| The Problem of Pure Consciousness: Mysticism and Philosophy | 1993 | Edited collection of essays | |
| Irreducible Mind: Toward a Psychology for the 21st Century | 2020 | Theoretical or philosophical paper | |
| Mysticism and schizophrenia: A phenomenological exploration of the structure of consciousness in the schizophrenia spectrum disorders. | 2016 | Theoretical or philosophical paper |