David Copperfield Born: David Seth Kotkin

Birthday: September 16, 1956

Birthplace: Metuchen, New Jersey

David Copperfield has been hailed by audiences the world over as the greatest magician of our time. After years of successful network specials and extensive touring, David Copperfield has been seen worldwide by more people than any other magician in history, including Houdini. His critically acclaimed Broadway show "Dreams & Nightmares" broke all box office records during it's run in New York. Such international magazines as Vanity Fair, Esquire, Architectural Digest, Paris Match, Hello! and Germany's Bunte have graced their covers with his image and story. His

magic crosses cultural lines. Currently, Forbes magazine has increased his ranking from eighth to the sixth highest grossing entertainer in the world, ahead of Madonna, Kevin Costner, and Arnold Schwarzenegger.

David Copperfield has elevated the art of magic to new heights --redefining this ancient art along the way. Where others think "it can't be done," David's approach is: "Yes it can!" Vanish the Statue of Liberty. Walk through the Great Wall of China. Soar through space with the greatest of ease. To David Copperfield, his passion for magic is everything." The secret," says David, "is to consider nothing impossible, then start treating possibilities as probabilities. If I am in the impossible business, and I am, then I want to go beyond impossible."

He has broken the mold of the master magician: soft spoken, witty, engaging, and supremely entertaining, his modern approach to a very old art has transformed the way the world looks at magic. He celebrated feats and sense of theater have won The Magic of David Copperfield dozens of Emmys, and have led him to be twice named Entertainer of the Year. His tour has set countless box office records across Europe, North and South America and Asia. Recently, London's Madame Tussaud's honored David Copperfield with a flying likeness in wax. He is the only living magician to receive his own star on the Hollywood Walk of Fame.

In France, he was knighted by the French government, receiving the Chevalier of Arts and Letters, the first ever for a magician.

Born September 16, 1956, young David Kotkin was performing professionally in his hometown of Metuchen, New Jersey, at the age or twelve. Soon thereafter, he became the youngest person ever to be admitted to the Society of American Magicians. By sixteen, he was teaching magic at New York University.
While in college, he was cast as lead in the Chicago musical, The Magic Man. Under the name David Copperfield, he sang, danced, acted, and created all the magic in the show that became the longest running musical in Chicago history.

As a result, he was chosen to host, The Magic of ABC, starring David Copperfield. The show was well received, introducing David Copperfield to the world. So successful was his performance, that CBS signed David for a series of specials, beginning the series: The Magic of David Copperfield. With each new special, David introduces more mind-boggling feats of magic, always performing before a live audience without the aid of any camera tricks or video effects.

More than any other magician before him, David Copperfield understands his craft. "Before there can be wonders, there must be wonder. In my show, I try to transport people on a journey of the imagination, much in the same way as a great film director does." In The Magic of David Copperfield, the wonder is real; the miracles are happening live before real witnesses.

Yet for all his accomplishments, David Copperfield insists that his greatest work to date is Project Magic. David developed this rehabilitative program over a decade ago to strengthen dexterity and motor use in disabled patients by using simple sleight-of-hand magic. "It motivates a patient's therapy and helps to build self esteem." Copperfield says, "There is nothing I do that is more important." Project Magic is currently implemented in 1,000 hospitals and 30 countries around the world, from Belgium to New Zealand, Iceland to Singapore.

David Copperfield also has a secret passion: preserving the history of the art of magic for present and future generations by providing a safe, permanent home for antiquarian props, books, and other historical ephemera related to conjuring. His vast collection, known as the International Museum and Library of the Conjuring Arts, is housed in Nevada. David's goal is to build a monument to the history of magic as a performing art, an ongoing museum that will survive us all.

The International Museum and Library of the Conjuring Arts is the world's premiere collection of historical documentation and artifacts regarding or pertaining to magic, illusion, and the allied arts. "Every contemporary magician stands on the shoulders of giants." says Copperfield, "and this museum is eloquent proof of the rich mosaic of contributions by men and women throughout the ages to this most compelling of all art forms.

In 1996, David Copperfield announce plans for an Interactive magic-themed restaurant, Copperfield Magic Underground to be located on Times Square in New York and at Walt Disney World Resort in Orlando, Florida. Unlike passive themed restaurants of the 90's, Magic Underground will take patrons on a magic adventure where they will actually experience the magic as they dine.

David Copperfield has rewritten the book on magic. He has brought it to heights of artistry and imagination undreamed by wizards or audiences in the past. The illusions are both spectacular mysteries and entertaining theater. He blends mystery and romance into sensual illusions, which dazzle the mind and move the heart. The real magic, however, is the man. David Copperfield has changed the view of what magic is and will continue to be for all time

Jean Eugène Robert-Houdin, the first modern magician.

From 1756 to 1781, Jacob Philadelphia performed feats of magic, sometimes under the guise of scientific exhibitions, throughout Europe and in Russia. Modern entertainment magic owes much of its origins to Jean Eugène Robert-Houdin (1805-1871), originally a clockmaker, who opened a magic theatre in Paris in the 1840s. His speciality was the construction of mechanical automata which appeared to move and act as if they were alive. The British performer J N Maskelyne and his partner Cooke established their own theatre, the Egyptian Hall in London's Piccadilly, in 1873. They presented stage magic, exploiting the potential of the stage for hidden mechanisms and assistants, and the control it offers over the audience's point of view. The escapologist and magician Harry Houdini (real name Ehrich Weiss, 1874 - 1926), took his stage name from Robert-Houdin and developed a range of stage magic tricks, many of them based on escapology (though that word was not used until after Houdini's death). The son of a Hungarian rabbi, Houdini was genuinely highly skilled in techniques such as lockpicking and escaping straitjackets, but also made full use of the whole range of conjuring techniques, including fake equipment and collusion with individuals in the audience. Houdini's showbusiness savvy was as great as his performing skill. There is a Houdini Museum dedicated to him in Scranton, Pennsylvania. In addition to expanding the range of magic hardware, showmanship and deceptive technique, these performers established the modern relationship between the performer and the audience.


In this relationship, there is an unspoken agreement between the performer and the audience about what is going on. Unlike in the past, almost no performers today actually claim to possess supernatural powers. There is a debate amongst people who perform mentalism as to whether or not to perform their style of magic as if they have real power or if they can simulate this power[3].

It is generally understood by most people that the effects in the performance are accomplished through sleight of hand (also called prestidigitation or léger de main), misdirection, deception, collusion with a member of the audience, apparatus with secret mechanisms, mirrors, and other trickery (hence the illusions are commonly referred to as "tricks"). The performer seeks to present an effect so clever and skillful that the audience cannot believe their eyes, and cannot think of the explanation. The sense of bafflement is part of the entertainment. In turn, the audience play a role in which they agree to be entertained by something they know to be a deception. Houdini also gained the trust of his audiences by using his knowledge of illusions to debunk charlatans, a tradition continued by magicians such as James Randi, P. C. Sorcar, and Penn and Teller.

Magic has come and gone in fashion. For instance, the magic show for much of the 20th century was marginalized in North America as largely children's entertainment. A revival started with Doug Henning, who reestablished the magic show as a form of mass entertainment with his distinctive look that rejected the old stereotypes and his exuberant sense of showmanship that became popular on both stage and numerous television specials.

Today, the art is enjoying a vogue, driven by a number of highly successful performers such as David Copperfield, Lance Burton, Penn and Teller, Derren Brown, Barry and Stuart, Criss Angel, Dorothy Dietrich, Greg Frewin and many other stage and TV performers. David Blaine is sometimes included in this category, though his major performances have been more a combination of Houdini-style escape tricks and physical endurance displays than the illusion magic performed by others. The mid-twentieth century saw magic transform in many different aspects. Some performers preferred to renovate the craft on stage (such as The Mentalizer Show in Times Square which mixed themes of spirituality and kabbalah with the art of magic). Others successfully made the transition to TV, which opens up new opportunities for deceptions, and brings the performer to huge audiences. Most TV magicians are shown performing before a live audience, who provide the remote viewer with a reassurance that the illusions are not obtained with post production visual effects.

Many of the basic principles of magic are comparatively old. There is an expression, "it's all done with smoke and mirrors", used to explain something baffling, but contrary to popular belief, effects are seldom achieved using mirrors today, due to the amount of work needed to install it and difficulties in transport. For example, the famous Pepper's Ghost, a stage illusion first used in 19th century London, required a specially built theatre. Modern performers have vanished objects as large as the Taj Mahal, Statue of Liberty, and the Space Shuttle, using other kinds of optical deceptions.

[edit]
Categories of effects

There is much discussion among magicians as to how a given effect is to be categorized, and disagreement as to what categories actually exist -- for instance, some magicians consider "penetrations" to be a separate category, while others consider penetrations a form of restoration or teleportation. It is generally agreed that there are very few different types of effect. There has been disagreement between some magicians (such as Dariel Fitzkee, Harlan Tarbell, S.H. Sharpe) as to how many different types of illusion there are. Some of these are listed below.
Production The magician produces something from nothing—a rabbit from an empty hat, a fan of cards from thin air, a shower of coins from an empty bucket, or the magician themselves, appearing in a puff of smoke on an empty stage -- all of these effects are productions.
Vanishing The magician makes something disappear—a coin, a cage of doves, milk from a newspaper, an assistant from a cabinet, or even the Statue of Liberty. A vanish, being the reverse of a production, may use a similar technique, in reverse.
Transformation The magician transforms something from one state into another—a silk handkerchief changes colour, a lady turns into a tiger, an indifferent card changes to the spectator's chosen card. A transformation can be seen as a combination of a vanish and a production.
Restoration The magician destroys an object, then restores it back to its original state—a rope is cut, a newspaper is torn, a woman is sawn in half, a borrowed watch is smashed to pieces—then they are all restored to their original state.
Teleportation The magician causes something to move from one place to another—a borrowed ring is found inside a ball of wool, a canary inside a light bulb, an assistant from a cabinet to the back of the theatre. When two objects exchange places, it is called a transposition: a simultaneous, double teleportation.

Magician Anthony Bass levitating a slip of paper.
Levitation The magician defies gravity, either by making something float in the air, or
Magician Anthony Bass levitating a slip of paper.with the aid of another object
(suspension)—a silver ball floats around a cloth, an assistant floats in mid-air, another is suspended from a broom, a scarf dances in a sealed bottle, the magician hovers a few inches off the floor. There are many popular ways to create this illusion of the magician himself being levitated, such as the Balducci levitation, the King Rising, Criss Angel's stool levitations, and the Andruzzi levitations.
Penetration The magician makes a solid object pass through another—a set of steel rings link and unlink, a candle penetrates an arm, swords pass through an assistant in a basket, a saltshaker penetrates the table-top, a man walks through a mirror. Sometimes referred to as 'solid-through-solid'.
Prediction The magician predicts the choice of a spectator, or the outcome of an event under seemingly impossible circumstances—a newspaper headline is predicted, the total amount of loose change in the spectator's pocket, a picture drawn on a slate. Prediction forms the basis for most 'pick-a-card' tricks, where a random card is chosen, then revealed to be known by the performer.

Many magical routines use combinations of effects. For example, in the famous 'cups and balls' a magician may use vanishes, productions, penetrations, teleportations and transformations all as part of the one presentation.