Hypnotic Persona 
Igor: The other thing is, and this is something – feel free to experiment 
with all kinds of different ways of doing it in terms of who you are 
whilst you are the Street Hypnotist. 
This is like your performance persona. If you feel comfortable being 
yourself, carry on being yourself and that’s a great thing to do. 
Some people like the idea of – they like a particular character 
they’ve seen on TV or a stage magician or something like that and 
they’re trying to emulate that person, and by all means, sometimes 
it’s worth doing it because there’s some things you’ll learn from 
that and get out of that; however, when you want to develop your 
own performance persona, the simplest way of doing this is just 
find some aspect of yourself that is dramatic, that is interesting, 
that you like, that you want to have more of and just present that, 
in other words, it’s almost like a caricature of yourself. 
Does that kind of make sense? So you’re not someone different. 
You’re just a part of yourself but more extremely so, because I can 
guarantee that every one of you in this room at some point has 
been particularly boisterous, right? You felt a little bit – pushed 
boundaries a little bit, let’s have a little fun with this thing here, 
right? At some point. It may not have happened in a while but at 
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least it has happened and it’s in your personal history. Some of you 
have been a little bit creepy at times, right? At least all of you have 
done something which is a little bit like, oh, this is weirding me out. 
This could be part of a performance persona. 
Again, you could be that slightly mysterious but it’s like, oh, 
something weird’s going on here. Everyone in this room has been 
funny at some point. Would that be fair to say? So all that you’re 
doing is you’re choosing a moment in time from your own 
personality and you’re choosing to loop that one, to show that one 
in a more dramatic caricatured light and then there’s nothing to 
play up to, there’s nothing to try and emulate or be. You’re just 
being more of yourself, just being one aspect of yourself. Does that 
kind of make sense to you guys? So I encourage you during this 
final session of the formal part of the training to start thinking 
about that. 
What is it – what is the feeling you want to have, your performance 
to have? Is it amazement? Is it mysterious? Is it funny? Is it 
dramatic? Right? Find some aspect of your personality that 
matches that mood and get yourself into that mood, just get 
yourself into that frame of mind yourself and do everything from 
there. Do you see where I’m going with this? 
Play it BIG! 
Anthony: We’ve mentioned a few times just getting more out of less, okay? 
How do you make things like this play bigger than they actually are 
because by now this is – you don’t even know if you’re hypnotized 
or not; in fact, you may think you’re not at all. It’s just a physical 
reaction. It can start to lose its value. You can start to lose sight of 
the power of these simple exercises. So, try and see them as little 
springboards. We spoke about flow earlier and linkage. Try and 
see these as springboards to the next response that you want to 
get. Get as many people involved with this exercise as possible. 
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Start to get used to working with a group. The words are pretty 
much the same. 
You can use members of the group to encourage the others along. 
That’s right, if you’re there already, close your eyes. Those of you 
who have already got your eyes closed, I want you to begin – give 
them a task to do; that’s how I generally manage groups when I’m 
doing things like magnetic hands, and I need to buy a bit of time for 
those who are not there yet. I’ll just give the whole group 
something to do. Those who get there early, get their 
acknowledgement. That’s right, those of you who are there 
already, excellent. Just begin breathing, in for seven and out for 
eleven. 
With each breath you take, you’re going to take yourself down, 
blah, blah, blah, blah, blah, and the rest of you, keep looking closer 
and closer and closer. So understand you can jump from individuals 
to a group to generalized patter, you can name people. You won’t 
disrupt the group. Just keep giving them some attention every now 
and again. When I demonstrated this – I think the first or second 
time I did it, the first time I demonstrated it just with eye closure. 
The second time I demonstrated it, we turned this from a physical 
analogue phenomena into a physical binary phenomena. 
I don’t know if you remember me doing that but the way that we 
did that was to stick a load of emotion in the middle of it and then 
tell them it was stuck, exactly the same as Igor’s hand on chest 
which can be delivered covertly. You don’t even need to mention 
hypnosis to achieve it. So if we can get from this – you’re thinking, 
yeah, this person is looking fascinated, this is when I’ve made that 
leap, I’m working with someone, I’m doing magnetic fingers and 
their eyes are getting wider and wider and they can’t help but kind 
of comment on it and things are really starting to shake because 
they’re fighting now and losing, that would be the kind of green flag 
for me to think, right, I’m just going to stick those fingers together, 
stick their hands together. 
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So now I’ve advanced in the process even though I’ve only spent 
perhaps another five or ten seconds trying to achieve that. Do you 
understand? This is just trying to get as much juice as we can out of 
these tiny little exercises. Do you have a question, someone? 
Igor: So think in these terms: Every time you do one of these things, like 
a suggestion test or experiment or even an induction with 
someone, you’re going to get a response, some kind of response, 
right? The question you could ask yourself at this point is, do I go 
down the plain vanilla route which is, I just carry on and do this, and 
I’ll do this one here and then so on, or, is it something like, wow, 
he’s doing really well with this so this is really dramatic. Can I milk 
this in some other way? Can I build on this in some other way? 
Right? Like, for example, when the hand comes up in terms of arm 
levitation, semi dramatic. For people who haven’t seen this before, 
it can be quite a big deal, right? 
But then you’re just linking something to that, aren’t you? You’re 
linking that emotion, right? And then later on we linked it to 
something being stuck. That’s exactly the same process, isn’t it? 
What can you link to this thing happening and what can you take 
from there? Well, if these things have come together so quickly, 
maybe they’ll get stuck, right? If your hands are stuck, what else 
can get stuck? It might be your voice. You try and say your name 
but it’s stuck inside your throat. What’s your name? Do you see 
where we’re going with this? You’re asking yourself, what’s just 
happened? What else can happen that’s so similar to this that with 
a simple suggestion it will just convert over, right? 
We’ll just throw a couple of examples so you guys can start thinking 
these ways. Remember when we did this thing here and you’ll 
close your eyes and be deeply relaxed. What does this look like? 
Like an induction, right? So really, if someone really responds like 
this really well, well, it’s already told you it’s an instant induction, 
hasn’t it? So this point, if you wanted to, you could very simply say, 
that’s right, all the way into trance now and suddenly the audience 
goes, ah, I missed it; when did that happen? And you see how it 
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becomes really dramatic at that point? All you’re doing is you’re 
riding on the coattails of something that is already occurring 
spontaneously. Is this making sense to you guys now? 
Anthony: For some of you that have done re-inductions, so you’ve set 
everything up, you’ll know that the re-induction is often the biggest 
and most dramatic bit of the show. That’s where a lot of the 
audience goes, ah, just because, click, they’re out, they’ve seen – all 
of their expectations about how hypnosis works has just been 
fulfilled. A hypnotist clicks their fingers and says sleep and the 
person drops like that. 
Igor: How might you put together this thing here, and exactly what 
Anthony was just talking about? Just think about it. How would 
you link the two together, if you saw someone respond to this quite 
dramatically, what might you do to be able to milk it and take it 
straight to something else, something like what Anthony was 
talking about? Any ideas? Just think of it this way: We’ve already 
given you the answer which is, just put them together. That’s right. 
And just tell them what’s going to happen: In a moment, I’ll ask you 
to open your eyes, and then I’ll click my fingers and say the word, 
sleep. 
When you hear this sound and you hear me say the word, sleep, 
you will close your eyes just like this. You will relax just as deeply as 
this or even deeper and you’ll instantly be in a deep state of 
hypnosis. All of you here understand? Okay. Open your eyes, wide 
awake, okay, sleep – 
Anthony: You’ll get a massive reaction from that. 
Igor: And it’s easy for you so you’ve already set it up. Do you see where 
we’re going with this, guys? 
Anthony: Another thing, and again, it’s quite a small point but to me it’s 
important. It’s another way of testing your work but also building a 
reaction. So when I kick off and I’m doing – let’s say I’m doing 
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magnetic fingers, magnetic hands, and a handshake induction, 
that’s my usual approach. If I’m getting this and the person’s like, 
oh, that’s weird and they’re already starting to testify to the 
strangeness of this happening, then I’ll just drop a completely 
innocuous suggestion that everyone will miss, like – and this is 
going to freak you out, when your fingers touch this, this is going to 
seem really weird to you; this is going to crack you up. 
So they’re like, oh, that was so freaky; that was so weird, and I 
think, good, he took that suggestion. Put your hands out in front of 
you. This time we’re going to do this and this. They’re going to 
move automatically, closer and closer, that’s right. You’re going to 
get that same strange feeling, that’s right, it’s going to freak you out 
even more. They’re just concentrating on the magnets, all those 
other ideas are being taken on board, and I’ve tested it so I know 
it’s more than just a ripple of, oh, yeah, that’s weird, because I’ve 
said, and when your hands touch, you’re going to scream out loud, 
and there’s nothing driving that scream. There is no good reason 
for them to scream at all. 
They haven’t seen anything scary or surprising – bang, massive 
scream. And I just know – the job is already done; the induction is 
just a flourish at that point. 
Igor: Think of this in these terms. Here a simple effect. Would it be fair 
to say that the finger vise is a very simple effect? Is that fair to say? 
Audience Members: Yeah. 
Igor: Now, off that simple effect, you can do multiple things with it. On 
the one side, you can attach onto it an emotion, whether it’s being 
freaked out, whether it’s excitement, whether it’s just laughing like 
a school girl. It doesn’t really matter what it is. You’re going to 
attach an emotion onto it. The other thing you can do is you can 
expand what that thing actually meant. For example, what has to 
be happening – if those fingers have come together, right, let’s 
ignore the physical, shall we say, cheat that we put into it, but these 
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fingers are coming together. What is the perception that’s actually 
going on there? What do people think? What is the logical 
conclusion that people normally will come to? Any ideas? 
Audience Member: They’re being hypnotized. 
Igor: They’re being hypnotized but, what, because their fingers – there’s 
automatic movement, in other words, the unconscious mind is in 
control of the hands and the conscious mind is not. Would that be 
fair to say that’s the logical conclusion that you’d come to? Right? 
So if you expand that idea, what else is possible? If the unconscious 
mind is running the hands now and the conscious mind can’t resist 
it, what else can you do with the hands that are completely in 
unconscious control but not in conscious control? Think about it. 
You can have levitation; you can have sticking; you can have 
movement, because these are all examples of exactly the same 
thing. So you see now, when one thing is working, you not only can 
take the response but you can continue to increase – 
Anthony: Yeah, that whole class of phenomena open up so then it’s just a 
case of how you play it. 
Igor: Right. And then something else happens, right? So you’ve 
expanded upon what that specific phenomenon means, right? 
You’ve expanded from automatic motion; this is essential to 
automatic emotion. Now we’re going to have automatic motion in 
the hands in other ways: upwards, sideways, sticking this, immobile 
and so on. But then we have, shall we say, an analogue class of 
phenomena that are really the same thing, just in a different part of 
the body. In hypnotherapy the classic version may be, you make 
the left hand numb and then you can transfer the numbness to 
some area that’s in pain. That’s one of the classic pain control 
methods, right? 
I won’t say the most inventive or useful one, I think, but it works, 
clearly because you’ve transferred the power from one hand to 
another. Well, you can see just the normal linkage process going on 
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here, right? So now we have something which is we have 
automatic motions in the hands and now the hands, say, are stuck 
here because they’ve come together. So now we have a couple of 
possibilities here, don’t we? There’s the idea of sticking. What else 
can stick? Well, if the hands can stick, maybe the feet can stick, or 
lips can stick, or the gums can stick, or the teeth can stick, or the 
tongue can stick. Do you see where we’re going with this? 
You’re transferring the power of sticking onto some other part of 
them. Do you see where we’re going with this? This is yes, this is 
no, this is, like, huh? Can I go back to bed now? So then you can 
use this as a bridge towards another effect, right? So if something 
is sticking, how can you have an effect that has nothing to do with 
sticking and you use sticking as a mechanism to create it? Start 
thinking creatively, folks. 
Anthony: You can make it so one thought sticks in their mind. 
Igor: Right. 
Anthony: We have a routine a bit like that. The only thing you can say is 
headhacking.com. And you can ask any question you like and that’s 
the only answer that comes out. 
Igor: Right. You can stick other things. You could stick, for example, you 
could stick their tongue shut so that they can’t say anything. So 
now you have – you can create the illusion of amnesia but you’re 
doing it through the sticking mechanism. Say your name, you’ve 
forgotten it. Even if you try and get it out, it just sticks in your 
throat. Now, as far as everyone else is concerned, they’ve 
forgotten their name but it doesn’t matter because even if they can 
say their name, you stuck it inside their throat; it’s not coming out. 
So as far as the performance goes, it’s still strong. Do you see how 
you have so many different directions that you can take something 
in. Does that make sense to you guys? 
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So I think what we’re going to do now is get you guys to sit down 
together in groups of five and just give you about – not too long, 
just about five or six minutes. I want you to take – we’ll come to 
you in a second – I want you to take just this simple phenomenon, 
finger vise, or if you prefer, magnetic hands, just choose one of 
those two though. 
I want you to discuss, what are all the things that can lead off from 
there. What emotions could you attach to it to make it more 
dramatic? What things are going on inside of that that you can 
expand the category of to create other impressive things, or, where 
can you transfer that thing to so that something completely 
different seems to happen but actually you’re just transferring the 
operative element of this onto some other part of the body, mind, 
emotions and so on. Does that kind of make sense to you guys? 
Anthony: And if you haven’t taken that into a lock yet and you have time, 
then try and push for that, some of you, if you haven’t done that 
yet. 
Igor: So you had a quick question? 
Audience Member: To lock your fingers or hands using a sort of VAK type imagery, it’s 
because you say, think of someone you’re bonded to, now your 
hands are bonded together? Is that the linkage or – 
Anthony: You could do that. 
Audience Member: But what is your intention when you do that? 
Anthony: The key phrase comes at the end. Yes, I talk about visual, auditory, 
and kinesthetic stuff but I’m not hung up on the VAK model. I just 
machine gun it and give them everything. So it’s exactly the same 
at this point. Your fingers are going to come together, that’s right, 
millimeters to go now when they come together, I’d like you just to 
allow your eyes to close. With your eyes closed, I normally say, I 
want you to enjoy this and then I go in one of two ways, and I’ve 
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often framed this is as, I’ll show you what it’s about; I guarantee 
this will make you feel good. The first way I go is, fingers touch, 
your eyes closed, that’s right, with your eyes closed, hands sticking 
tighter and tighter. 
I’m still emphasizing the magnets but I haven’t suggested they’re 
stuck yet, so I haven’t challenged it. When they touch your eyes 
close and I say, with your eyes closed, think about the person who 
is dearest to you on this planet and I normally just say, if there’s 
more than one, see more than one, because people can’t decide 
between their kids and they get confused and they feel guilty and 
stuff. If there’s more than one, see more than one. See their eyes; 
see them smiling; hear their voice; hear their laughter; feel what 
you feel for them; step into a memory involving them; get into your 
body there if you’re not already, and this is the line that does it, as 
far as I’m concerned: 
As you feel that – so I’ve just said, feel the bond you have for them, 
feel the love you have for that person – as you feel that and as you 
listen to the sound of my voice your fingers are becoming stuck and 
bolted, glued together, stuck together, as you feel that and as you 
listen to me. Okay? So one is, I’m giving them a bit of emotional 
blackmail here, not really blackmail but just a little nudge that, you 
want to carry on feeling that, keep listening, and as you feel that, 
they are feeling it but I’m also pacing their experience – as you feel 
that – they can’t deny they’re feeling it because they’re visualizing 
seeing this person. 
That’s not logical but the next one’s even more illogical which is: 
And as you listen to my voice, there’s no reason why listening to my 
voice should mean your fingers are stuck but because as you’re 
feeling that, and they’re feeling it, and as you listen to my voice, 
they’re hearing it, your fingers are becoming stuck and bolted. It 
just becomes accepted, a bit like, look at your hand as it moves 
towards your face. Your eyes will begin to change focus, as you 
become aware of your eyes close, your eyes – the same thing – it’s 
like, this is happening, this is happening, oh, has happened, it’s 
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really over. So as you feel that. So I’ll often do that, I’ll always use 
that in any kind of personal therapeutic situation. 
Yesterday, because of the nature of why we’re here, when I 
demoed this, I think I asked if the guy had kids, he said no, hasn’t 
got to be kids. I’m sure he could think of another loved one, but I 
just took it in the other track I normally take it, which is, when your 
fingers touch, allow your eyes to close; that’s right, I want you to 
enjoy this; go out into a fantasy and I want you to picture 
something you’d love to do, something you’d love to achieve. 
When you’re got something in mind, nod your head for me. Now, 
make it as perfect as you can. See yourself out there being the man 
you want to be, achieving the things you want to achieve, create 
that perfect future event. 
When you see that – again, I’ll often get verification – just nod your 
head for me – then I’ll go for the dissociation. I’ll say, if you’re not 
there already, step into your body. You’re there seeing what you 
can see, hearing what you can hear, feeling what you can feel, and 
as you feel that and as you listen to me, your fingers are becoming 
stuck and bolted and glued together. So it’s the same thing: he’s 
gone out, he’s seen himself as a big time stage hypnotist, he’s now 
on stage feeling all that, and as he feels that and as he listens, your 
fingers are becoming stuck and bolted. 
Igor: So the pattern is very simple. You’ve had one success, fingers 
coming together. You attach something else to it, in this case, the 
future memory of something he wants to happen - 
Anthony: It’s really to raise emotion, however I get there.
Igor: So you’ve got basically this thing here. All you do now is you loop 
that emotion back to the expanded category of that which is 
basically from fingers moving to fingers stuck and you’re using the 
emotional thing as kind of leverage saying, well, if you want to hang 
onto this, this will happen too. See, that kind of makes this thing 
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here fill up with that emotion, which is of course an unconscious 
response; hence, it’s a more loaded response. That’s all that is. 
Anthony: Just a final aspect to this. We’ve spoken about kind of testing your 
work a lot. We haven’t necessarily spoken about the best way of 
doing that testing, and again, for me, this is an opportunity – when 
you start the test, you’ve created this effect, when you start the 
test, you can break the effect completely. So I tend to stagger my 
tests. They’re kind of progressive little tests that start very soft, 
almost invisibly and then will get up to the much more proving it 
and getting them to really challenge it. So in this situation, their 
fingers will come together, they have this emotional thing. I could 
just let them out at that point. 
I could say, now, just allow your hands to come apart, drift down, 
and open your eyes; good, that show me you can concentrate. I 
could just move on. But if I’ve gone for this lock, okay, I’ll say, and 
as you feel that, your fingers are becoming stuck and bolted, glued, 
I’ll hammer that suggestion in a few times and then this is my first 
test, and when you realize they’re stuck, raise them up a little 
higher so I understand. When you realize they’re stuck. Now, stuck 
is ambiguous, it’s vague enough. Stuck could mean, my fingers 
have touched. Stuck could mean, they don’t seem to be coming 
apart. Stuck could mean, I’m desperately trying to pull my hands 
apart here and they are stuck. 
It can mean any of those things but what I find is, the traditional 
hand lock which kind of works on ten, twenty percent of any 
audience, is fine, if you’ve got a big audience for Stage Hypnosis, 
but if I’m giving a lecture or I’m doing a gig for, say, fifty, hundred, 
hundred and fifty people, then I still want to do this audience test 
and I want to get as many locks as I can. I find with this I’ll get 
seventy or eighty percent of the audience to give this initial raise of 
their hands, okay? It’s too many people for me to work with. So 
now I can test a little bit harder. I can say, that’s right, and use the 
language, try and pull them apart, find they’re stuck, and I’ll lose 
some people. 
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I say, try even harder, really put some effort in. For some of you, 
they’re going to start to shake, so I’m now just looking for this, I’m 
looking for the half dozen people I actually need for my lecture or 
the two people I need for my lecture, the ten people I need for my 
stage show, but it’s the same thing. If I’m giving arm levitation, it’s 
all going nicely; you should all be able to do this by now, giving arm 
levitation. That’s where it’s going to get lighter and lighter, higher 
and higher, and the higher it gets, the lighter it is going to feel. So 
when it’s lifting, I’ll say, try and keep it still and find you cannot. So 
I’m not asking them to put it down; I’m asking them to just keep it 
where it is. 
If they keep it where it is, it doesn’t matter, I’ll work it some more. 
But I say, try and keep it steady and find it goes even higher, is what 
I normally say, give it a direction I want. And when I get that, I’ll 
say, that’s right, try even harder, find it just lifts up even higher. 
Now they’ve succeeded twice. Now I’m prepared to say, try and 
put it down and find that you cannot, and when they can’t, I’m then 
prepared to say, in a minute I’ll click my fingers, your eyes will open, 
you’ll look at that hand, you’ll believe it’s somebody else’s hand. Is 
that your arm? I think so. 
Igor: By the way guys – 
Anthony: So even the tests are progressive. 
Igor: Do you notice how even, when he was talking about that, it is 
exactly the same thing. We start off with a light test, is a small part 
of this bubble, then we have a bigger test, which is the whole part 
of this bubble, and then we’ll add onto it basically a completely 
different bubble that wasn’t there in the first place which is an 
expansion of the whole thing. So the test actually can become a 
whole new set of suggestions. It’s constantly expanding what they 
are capable of, what this whole thing means. And really, that’s 
what it comes down to, what we’re talking about here. What 
you’re doing is you’re expanding the meaning of whatever it is they 
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happen to be experiencing at that point in time. The larger the 
meaning, the more dramatic the effect will be. Does that kind of 
make sense to you guys? 
Anthony: So if you can get through the – as you rack up through these tests 
and that feeling of involuntariness is growing, you’ve got to 
understand they’re now just experiencing so it becomes very easy 
then to start directing their emotion and how they feel about it and 
build out from there. 
Igor: So here’s what I’m going to do. Let’s change the exercise around a 
little bit, just in the light of this. What I’d like you to do is get into 
groups of five people in a moment’s time. We’ll have all the 
assistants float around to come in from time to time to help you, 
give you little bits of advice and so on. What we’re going to have is 
only one hypnotist per group, one subject per group, and you 
choose either the finger vice or the magnetic hands as your 
experiment of choice. Is that good? So far, so easy, right? 
Now, as you are going through this or this, you, the hypnotist, your 
job will be to start expanding what is happening in terms of what it 
means to that person, and then suggest the expanded meaning, 
and the job of everyone else watching will be to suggest to the 
hypnotist other ways that he can use whatever is happening to 
expand the meaning to make it seem more dramatic, sound more 
dramatic and therefore be more dramatic because you’ve changed 
what it all means. Does that make sense to you guys? And 
assistants will float around and when they see something 
happening, they can just come in again and say, oh, look at this, 
why don’t you try suggesting this or try suggesting that to get more 
of this effect, you’re really milking a tiny little sequence into a huge 
and dramatically powerful demonstration. 
Anthony: Imagine this is all you’ve got to perform with, simple as that. 
Igor: Right, that’s all you can do. 
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Anthony: It’s a throw-away piece of magnetic fingers. This is all you’re 
allowed to perform with. How much value can you get out of it, 
and everything else that we’ve taught, the whole list of 
phenomena, can be linked to this one schoolboy effect. 
Igor: Jonas, did you have a question or comment? 
Jonas: Yeah, a quick one. If there’s anyone that feels like they’re going to 
get somewhere and they have got phenomena going and it hasn’t 
been filmed at all yet, they can come over to me. I’ll give you a 
mike so that we can actually hear what you’re saying inside here 
when it’s loud and I will focus the camera on you and you will get a 
little run through. 
Igor: If you wish it. 
Jonas: If anyone feels confident that hasn’t been filmed yet. 
Igor: Just play it by ear, guys. If you want to call Jonas over and be on 
sound and camera, then, by all means, do so, and if not, that’s fine 
too. We’ll just go play it. So you understand the nature of the 
exercise. Is that correct? Yes? Let me try that again: Do you 
understand the nature of the exercise? 
Audience Members: Yes. 
Igor: All right, guys. Stand up. We’re only going to give you seven 
minutes because we have a few more bits to do. Only one person is 
going to be a hypnotist for the whole exercise, okay? 

//전부  전체문맥을 고려해서 한국어로 자연스럽게 번역해줘