
The New Encyclopedia of Stage Hypnotism
By Ormond McGillLength18h 50m
About this audiobook
A comprehensive guide to stage hypnotism by Ormond McGill, covering hypnosis techniques, performance skills, suggestion methods, psychology, and practical demonstrations for learners and professionals.
Audiobook details
GenrePsychology
Length18 hrs 50 mins
Narrated byListen with 1,000+ voices
FormateBook with Audio
Publish dateMay 1, 1996
LanguageEnglish
Table of contents
1The New Encyclopedia of Stage Hypnotism
153Handlocking on the Entire Audience
2Foreword
154The “Flame Under Water” Visualisation Method
3early 1996.
155Unexpected Mass Hypnosis
4Preface
156Chapter Fifty-Four The Committee on the Stage
5Introduction
157Chapter Fifty-Five Initial Hypnotising of the Committee The “Mood of Meditation” Induction Method
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6and subject.
158A Rapid-Fire Method to Initially Hypnotise the Committee
7mastery of stage hypnotism:
159The Nonverbal Method of Initial Induction
8Chapter Three
160Chapter Fifty-Six A Complete Hypnotism Show
9Chapter Four
161First Group Experiment: The “Hypnotic Mood” Test
10Chapter Five Resume of Hypnotic Phenomena Phenomena of Hypnosis
162relaxing of the body, then the eyelid closures and fastening, and finally through sug- gestions of drowsiness and sleep.
11Posthypnotic Phenomena
163The “Falling Backwards” Test
12Q. What Constitutes a Good or Bad Hypnotic Subject?
164The “Falling Forwards” Test
13Q. Does intelligence aid hypnosis?
165The Sitting Test
14Test Two: Drawing a Person Over Backward
166Second Group Experiment: The ucommittee Sitting” Test
15Figure 7.5
167Second Individual Experiment: /Muscu lar Catalepsy” The “Hand-Locking” Test
16Figure 7.7
168Third Group Experiment
17Chapter Eight A Milestone in Personal Influence Locking the Subject’s Hands Together
169manner.”
18Modus Operandi for Performing the Test
170The “Fingertip Sticking” and “Fingertip Missing” Tests
19Chapter Nine The Art of Waking Hypnosis
171Further Waking-Hypnosis Experiments with Individual Subjects
20Chapter Ten Waking Hypnosis on the Stage
172Individual Hypnotic Induction on Stage
21Harry Aron’s Arms-Rising-and-Falling Test
173cannot!”
22Hands and Fingers Testing
174Fifth Group Experiment Mass Hypnotising of the Committee
23De Waldoza’s Show of Waking Hypnosis
175Group Hand-Raising Test
24Chapter Eleven Further Experimentsin Waking Hypnosis
176The Cigarette Test
25Stiffening the Subject’s Leg
177Sixth Group Experiment Group Hypnotising from Audience
26Stiffening the Subject’s Arm
178Experiments for the Front Group Of Subjects The “Revolving Arms” Test
27stuttering. You will
179The Canary Test
28The Hand-shaking Test
180The “Instantaneous Hypnotism” Test
29Making it Impossible for the Subject to Sit Down
181by loss ofmemory.
30Making it Impossible for the Subject to Stand Up From His Chair
182The “Motion Picture” Test on Committee
31Variation and Amplification of the Various Tests
183Posthypnotic Climax to the Show
32The Depth Levels of Hypnosis
184Chapter Fifty-Seven Climaxing the Hypnotism Show
33Hypnotism and the Suggestion of Sleep
185The Tex Morton Posthypnotic Climax
34Stage Dismissal Decorum
186The Michael Dean Posthypnotic Climax
35The Questions of Amnesia
187The Pat Collins Posthypnotic Climax
36effective.
188The Dance Contest Climax
37On Concluding the Show
189Hypnotism Show Routines
38Step One
190The Hypnotic Exercisers
39Step Four
191The Boxing Test
40Chapter Fourteen Awakening the Subject
192The Rowing Test
41Chapter Fifteen The Ormond McGill Method
193The “Elixir of Youth and Old Age” Test
42Continue …
194The Rain Storm
43Pick up your subject’s hands, hold
195Asleep in the Audience
44Chapter Sixteen The Relaxation Method
196The Frankenstein Monster
45Performing the Muscular Relaxation Test
197The Invisible Hypnotist
46Chapter Seventeen The Ideomotor Method
198The Seasick Test
47Hypnotism Jun on the stage
199Money, Money On the Floor
48The Interview
200The Flying Saucer and a Trip to Mars
49The Induction
201The Hindu Rope Trick
50I
202School Days
51Grip your subject by his shoulders as your give these suggestions and gently lower him into his chair.
203Developing Routines For Your Own Show
52The Awakening
204Chapter Fifty-Nine The Great Hollywood Motion Picture Screen Test
53The Rehypnotisation
205The Rhythmic-Breathing Hypnotising Method
54A Pot-pourri of Hypnotising Methods
206The “Pinching Butt” Test
55Chapter Nineteen The “Eye Blinking” Method
207The “Lie Detector” Test
56The Hypnotic Party: The Classic “Drunk on a Glass of Water” Experiment
208Chapter Sixty-One Ideas From the Pat Collins Show
57Chapter Twenty The “Visual Imagery” Method
209The HProgressing to Sleep” Hypnotising Method
58Chapter Twenty-One The “Clock Dial” Method
210The “Hot Seat” Test
59Chapter Twenty-Two The “Light and Shadow” Method
211Chapter Sixty-Two Ideas From the Martin St James Show
60Chapter Twenty-Three The nBody Rocking” Method
212The “Triple Response” Induction
61Chapter Twenty-Four The “Loss of Equilibrium” Method
213The “Picnic in the Country” Test
62Pause …
214The “Horse Race” Test
63Chapter Twenty-Five The uPendulum Over Spiral” Method
215The Hypnotic Band
64Chapter Twenty-Six The “Arm Levitation” Method
216Chapter Sixty-Three Dr Flint’s Hypnotic Routines Modernised
65Chapter Twenty-Seven The “Candy Induction” Method
217Complete body
66Chapter Twenty-Eight The “Fatigue Out-of-Focus” Method
218Chapter Sixty-Four A Compilation of Hypnotic Routines from Around the World
67The Music Method of Hypnotic Induction
219Subjective Response To Routines
68it for use
220A Compilation of Successful Hypnotic Routines
69Chapter Thirty-One The Biofeedback Method
221Odd and Even Hypnotic Experiments
70Chapter Thirty-Two The “Acupressure” Method
222Perform a uThree-Ring Circus”
71Chapter Thirty-Three The Marx Howell Nonverbal Hypnotic Induction
223Chapter Sixty-Five Sensational Hypnotic Feats
72Chapter Thirty-Four The Chakra Colours Hypnotic Induction
224tl_Q_
73Brain Waves
225The “Human X-ray” Test
74Chakra Colours
226The “Heart and Pulse” Test
75Hypnotic Method
227The “Pin Through the Flesh” Test
76Chapter Thirty-Five Ormond McGill’s “Guardian Angel” Stage Hypnotism Method
228The “Flame-Resistance” Test
77Method One - The “Eyelid Fixation” Process
229The Famous ucataleptic Body-Rigid” Test
78Method Two The ” Sleep Formula” For Deepening Developi ng Hyp nosis
230The Rock-Breaking Test
79I
231The Chairs
80Method Three
232The Lights
81Method Four
233The Mike
82Method Eight
234The Music
83Method Fifteen
235The Hypnotic Wand
84Method Sixteen
236Hypnograph Buttons
85Method Nineteen
237The Brainwave Synchroniser
86Method Forty-One
238Ormond McGill Presentation
87Method Fifty-Six
239the show tonight.”
88Method Fifty-Eight
240Challenge Hypnotism
89Method Sixty-Six
241in
90“Sleep Formula”.
242Hypnotising a Vase of Flowers
91Method Seventy-Two
243Hypnotising a Chicken
92Method Seventy-Four
244Making it Impossible for a Subject to Rise from His Chair
93Method Seventy-Seven
245Making a Subject Lose His Sense of Direction
94Method Eighty-One
246Comments on the Mercuric Chloride Method of Hypnotising by Barry Brilliant, MA
95“Eyelid Fixation” and “Sleep Formula”.
247Grant’s Hypnotism Over Earphones
96Formula”.
248Chapter Seventy-One The Dr Q Hypnotic Act
97Method Eighty-Eight
249Introduction
98Method Ninety
250The Dr Q Direct Cue Method
99Method Ninety-One
251Dr Q’s Hypnotic Routine
100Chapter Thirty-Seven Instantaneous Method of Hypnotising
252the second spectator in the line.
101The Posthypnotic Method
253Chapter Seventy-Two Hypnotism in the Nightclub Field
102Instantaneous Hypnosis Following Eyelid Fixation
254Nightclub Hypnotising
103Instantaneous Hypnosis Following the Falling-Backwards Test
255Hypnotism and Alcohol
104Two “Sleeper” Methods of Instant Hypnotism
256WONDERS
105The Chest-Squeezing Method
257the Australian
106The Carotid-Artery-Pressure Method
258Admit 1 student for ½ 1ricel
107The “Hypnoheat” Method
259In
108Fractional Hypnotism Technique
260of high prices for everything.
109How Properly to Use Suggestion on the Hypnotised Subject to Increase Depth of Trance
261Newspaper Stories
110More on Somnambulism
262Hypnotic Show by Dr Ceccarelli
111Chapter Thirty-Nine Hypnotising Children
263harmlessly through an Italian military operation during World War II.
112Chapter Forty Hypnotism and the Sense of Time
264Newspaper Interviews
113Chapter Forty-One Woman’s Place in Hypnotism
265Of great use in
114Marina Flint
266…u
115Chapter Forty-Two The Extraordinary Phenomena of Hypnotism
267Ukl loCI III. UI\
116The Magnetic/Mesmeric Method
268atM
117The Blue-Light Method
269o,, onlCI. n NI: ..,.,,., a-Mtt 11MH Uw lii) W .._,.
118Supernormal Phenomena Hyperaesthesia of the Senses
270Radio Spot One … McGill Show
119With the Sense of Feeling
271Radio Interviews
120With the Sense of Sight
272guests.
121ESP Experiments in Hypnosis Telepathy
273Chapter Seventy-Four Hypnotism Publicity Miracles
122Clairvoyance
274SAT., OCT. 31st at 3:30 P.M.
123Subtle Symptoms of Hypnosis
275The “Window Sleep” via TV or Radio
124The Crystal Ball Method of Hypnotising
276––now
125Hypnotising a Group of Subjects Simultaneously on Stage
277Other Hypnotic Publicity Stunts
126of your body to your navel … to a point in the area of your appendix just to the right of your navel. Experience it. [Pause.]
278How to Avoid Hypnotic Lawsuits
127And now, practise, practise, and practise!
279Rule Six
128Chapter Forty-Four An Introduction to Entertaining With Hypnotism by Gil Boyne
280Rule Twelve
129Chapter Forty-Five
281Chapter Seventy-Six The Stage Hypnotist and Hypnotherapy
130First Understanding
282The American Medical Association and the Hypnotism Show
131Qualifications of the Hypnotic Entertainer
283The Formula of Yoga Nidra
132Three Basics for Successful Stage Hypnotism
284this order:
133Performing Attitude
285Returning from Yoga Nidra
134Audience Acceptance
286Turn on the lights in the auditorium.
135Chapter Forty-Seven Secrets of Successful Stage Hypnotism
287Remember …
136The Importance of Importance
288Appendix I The Sensational Gil Boyne Hypnotism Stage Show Complete Presentation and Routines
137Judging Your Committee
289Introduction
138Simulation
290“And …
139Rule 3: Incorporate science into your presentation
291Hypnosis Deepening
140The Skeleton of the Hypnotism Show
292On Into the Show
141Tip 4: Involve Yourself in the Action
293Performing Some Individual Tests
142Chapter Fifty Hypnotic Show Programming
294Climaxing the Show
143THE INVISTIGATORS RETURN TO THI STAGE HY,NOTIC EIEICISE$ $0t,INM\IIUUSM SO YOUWANTTOIf A HOUYWOOD STAI
295stops upon command.
144CONCLUSION
296international recognition for his outstanding work
145ACT II
297The Gil Boyne Awakening
146The Ormond McGill Introduction
298The Day of Filming
147The Pat Collins Introduction
299Hypnotising the TV Subjects
148Chapter Fifty-Two The Invitation to Come on Stage
300Paul McKenna Productions PO Box 5514 London W84LY United Kingdom
149Motivation 4: Just For the Fun of It
301I&II:Hypnotherapeutic
150The “Can’t Drop a Pencil” Method
302& Bob G. Bodenhamer, DMin
151The “Imaginary Rubber Band” Technique
303Scripts and Strateg·ies in H.y·pnothera.py The Complete Works Roger P. Allen, Dp, Hyp, PsyV
152Rubberband
304Presenting, Magically Transforming Your Stage Presence with NLP David Shephard & Tad James