DON MOTTIN STAGE HYPNOSIS CLASS

REQUIREMENTS FOR SUCCESSFUL STAGE SHOWS The following are a list of essential requirements to achieve success with stage shows. 1. The environment. The surroundings should be conducive to the induction of the hypnotic state. Seating should be arranged to ensure that everyone in the audience can easily view the performance. 2. Minimum attendance of forty individuals. A larger group will ensure an adequate number of volunteers. 3. A minimum of four sub ects participating in the show. !. A proper sound system. ". A predetermined plan for dismissing unresponsive sub ects from the stage. #. An induction that is limited to a ma$imum of five minutes. %. All s&its prearranged. '. All s&its designed to be entertaining( while not embarrassing to the volunteers. ). *eep the audience involved with the show. 1+. ,ress in a professional manner. 11. -f possible use the sub ects first names. 12. -f using props( have them in a location that they can easily be brought out( without creating a distraction. 13. Always give credit to your sub ects. .ever ta&e the credit for a hypnotic response. 1!. /emove all hypnotic suggestions prior to e$iting the hypnotic state. 1". 0imit the show to a ma$imum of )+ minutes. This )+ minute ma$imum is from the time you say good evening to the moment that you say good night. Anything longer will begin to bore your audience. /1M1M21/ A03A4S 01A51 T61M 3A.T-.7 M8/1.

THE 15 STEPS OF PREFORMING STAGE SHOWS 19 S101:T-.7 T61 T4;1 8< S683. 29 /AT-.7 T61 S683 <8/ T61 A=,-1.:1. 39 8;1.-.7 STAT1M1.TS. !9 /1>=1ST-.7 580=.T11/S. "9 S=771ST-2-0-T4 T1STS. #9 <-/STS S1T 8< ,-SM-SS-.7 S=2?1:TS. %9 -.,=:-.7 T61 64;.8T-: STAT1. '9 ,11;1.-.7 T61 64;.8T-: STAT1. )9 T1ST S*-TS. 1+9 S1:8., ,-SM-SS-.7 8< S=2?1:TS. 119 *14 38/, <8/ /1-.,=:T-8.. 129 1@-T-.7 T61 64;.8T-: STAT1 3-T6 ;8ST 64;.8T-: S*-TS. 139 /A;-, /1-.,=:T-8. 8< T61 64;.8T-: STAT1. 1!9 S*-TS. 1"9 M-,3A4 S;1:-A0 S*-T. 1#9 S*-TS. 1%9 ;-T:6 <8/ SA01S( A., 8T61/ S1/5-:1S. 1'9 7/A., <-.A01. 1)9 1@-T-.7. 2+9 1.,-.7 STAT1M1.TS.

THE TYPE OF SHOW The performer basically has a choice of three types of shows that may be conducted with hypnosis. 1ach one of these shows as distinct advantages and disadvantages. The first is the SELF PROMOTING SHOW. (SPS) 3ith a S;S show the entertainer will select their own location in which to perform the show. The entertainer will be the mar&eter( performer( and promoter for this type of a show. ,epending on the e$pertise of the entertainer and the amount of time he or she has to spend on a S;S( this could prove to be the perfect type of show. 8n the following pages will be a brea& down of the cost and profit for a S;S( as well as the advantages and disadvantages. SPS COST FACTORS <acility ;romotion :ost TYPES OF FACILITIES 1. 2. 3.

PROMOTION COSTS 1. 2. 3. !. As with any type of a show or spea&ing engagement the entertainer must mentally select a dollar amount and a prediction as to how many individuals will attend the presentation.

SPS COST FACTORS CONTINUED ;/8<-T AM8=.T ,1S-/1, ;/8?1:T1, :8ST ;/8?1:T1, ATT1.,A.:1 T-:*1T ;/-:1 THE FORMULA T-:*1T ;/-:1 @ ;/8?1:T1, ATT1.,A.:1 A 7/8SS /151.=1. 7/8SS /151.=1 B :8ST A .1T /151.=1. EXAMPLEC ;/8<-T ,1S-/1, D "++.++. :8ST D 2"+.++ ;/8?1:T1, ATT1.,A.:1 1"+. T-:*1T ;/-:1 D #.++ 7/8SS /151.=1 D#.++ @ 1"+ A D )++.++ D)++.++ B D 3"+.++ A .1T /151.=1 8< D""+.++ CONTRACT SHOW (CS) The :S is e$actly what the title implies. This is a show where the entertainer contracts with a club( organiEation( or individual to perform for a given time period for a predetermined amount of money. .ormally( the entertainer will also require a minimum number of people in attendance. The :S frees the entertainer of any and all of the financial ris&s. FUNDRAISER SHOW (FRS) The </S is a system where an organiEation or a club will sponsor the show and all proceeds will be split by the organiEation and the performer. A normal split is "+F"+. ,epending on the tic&et price and the pro ected amount of participants this split may vary slightly.

A !+F#+ split with the #+ percent going to the performer may be arranged if either of the two elements are involved. 1. The entertainer is e$tremely well &now and has his or her own drawing ability in the area. 2. The pro ected amount of individuals in attendance is to low to ensure the performers minimum requirement in the area of income. ADVANTAGES AND DISADVANTAGES S10< ;/8M8T-.7 S683 A,5A.TA71S 1. 2. 3. !. S10< ;/8M8T-.7 S683 ,-SA,5A.TA71S 1. 2. 3. !. :8.T/A:T S683 A,5A.TA71S 1. 2. 3. !. :8.T/A:T S683 ,-SA,5A.TA71S 1. 2. 3. !.

<=.,/A-S1/ S683 A,5A.TA71S 1. 2. 3. !. <=.,/A-S1/ S683 ,-SA,5A.TA71S 1. 2. 3. !.

RATING THE SHOW There is a need to rate your shows so that you will have a form of entertainment that can be en oyed by any type of group. -f the entertainer has developed only one type of a show that is usually performed in a night club setting( of show would not be acceptable( or boo&ed for a church function. A rating system that allows both the entertainer and the prospective client to &now in advance the type of show that will be conducted will lead to more boo&ings and a successful show. Any form of a rating system will do. 8n the following page you will notice a rating system that everyone can relate to. THE RATING SYSTEM X-RATED ..The @B/AT1, shows will contain both language @B/AT1,.... and s&its of a se$ual nature. This type of a show is not performed with children in the audience. .8T1C There are very few locations where an @B/ated show is appropriate. The thought to always &eep in mind is ........."Never offend the audience or your volunteers." R-RATED .. The /B/ated shows may contain some language and s&its that are not suitable for children( but will not be offensive to most adults. This is a typical show that may be performed at a night club( or convention.

PG-RATED .. The ;7B/ated shows are conducted in such a manner that any material that may have been ob ected to delivered in an g direct manner. This type of show is suitable for teenagers as well as adults. The ;7B/AT1, show are ideal for high school functions. G-RATED .. The 7B/AT1, shows are acceptable( and en oyable for any age group. 1ven children as young as % or S will en oy this type of performance. The 7B/ated show has also been proven to be very successful for church groups( school functions( and some conventions. -t is advisable to have your s&its categoriEed by the rating system so that the prospective client will understand the type of show that will be conducted. The entertainer will learn how to effectively use many of the same s&its for any one of the four rating Systems. The following is an e$ample of ta&ing the same s&it from a 7/ated show all the way to an @B /ated show. G-RATED .. 8n the count of three you are going to see a movie with several 3alt ,isney characters in it. This movie will be so funny that you will laugh out loud. PG-RATED .. 8n the count of three you will see a movie with Mic&ey and Minnie Mouse. Minnie is going to be yelling at Mic&ey for staying out to late. Minnie thin&s that Mic&ey has been out mousing around. R-RATED .. 8n the count of three you are going to see a funny movie with Mic&ey and Minnie Mouse. The funny part of this movie is that Mic&ey is going to be trying to get Minnie into bed with him. X-RATED .. 8n the count of three you are going to see a very funny and strange movie. This is going to be a movie with Mic&ey and Minnie Mouse. Mic&ey is screwing the hell out of Minnie( and she is having a mouse organism. -t is now easy to see how once we have a s&it( it can be altered to accommodate almost any type of an audience.

YOUR IMAGE 4our opening statements can easily ma&e or brea& the entire show. 3hen deciding the type of opening statements to ma&e the performer must chose one of two approaches. 3ith hypnosis there are two different ways of delivering suggestions( and thus there are also two ways of presenting the performer. The two methods are ;1/M-SS-51 and A=T68/-TA/-A.. The permissive type of approach is letting the audience &now that everything that ta&es place with hypnosis is accomplished through the sub ects ability to concentrate( and the hypnotists is simply delivering appropriate suggestions. The permissive approach is putting some of the responsibility of success onto the volunteers( while removing the old thought that the hypnotist is controlling their actions. The authoritarian approach is the complete opposite of the permissive approach. The hypnotist is presenting himself as being the controlling force( and for the sub ects to turn control over hypnotist on control to him. The authoritarian approach puts the hypnotist on a pedestal for his great abilities of mind control. As with any choices( there are both positive and negative qualities in both. A=T68/-TA/-A. ;8S-T-51 1. 2. 3. !. 8nce the performer has decided what type of approach is best suited for their personality they are ready to establish a wor&ing opening statement. OPENING STATEMENTS The following are requirements in an opening statement regardless of which type of an image that you have chosen. 1. 2. .17AT-51

3. !. ". #. %. '. -f the above information has been delivered properly the performer will be assured of many volunteers for the show. SAMPLE OF AN OPENING STATEMENT 7ood evening( my name is . - have been hypnotiEing individuals for years now. Almost every intelligent person has heard or read about the use of hypnosis in therapy( for things such as( stop smo&ing weight loss( painless childbirth( and removing phobias. Many police departments are using hypnosis to aid a witness remembering parts of a crime. Today we are going to investigate the entertainment side of hypnosis( and do it in good taste without embarrassing anyone. - truly love conducting these shows as well as wor&ing in the area of . -f we did not conduct the show in good taste - would be destroying my chances of the people in the audience or the &ind people who volunteered for the show in using my other services. So( you have my word of honor that this show will be done in a fun loving way where everyone that volunteers will be pleased. <or those of you that have not had a chance to see a hypnotic show before( - would li&e to give you a brief e$planation as to what will be ta&ing place. -n a moment - am going to as& for volunteers to come up here on stage and be my guests. These people will be the luc&y ones that will get to e$perience hypnosis. There are two requirements in order to be hypnotiEed. <irst( you have to be willing. .o one can ever be hypnotiEed against there will. So( please donGt come up here with the idea of( -Gll show him that he canGt hypnotiEe me. Second( you must have normal intelligence. ,onGt be alarmed. 4ou do not need to be a genius. -f you have enough concentration to count from 1+ down to 1( you have enough intelligence to be hypnotiEed. .ow( before you all rush up here to be hypnotiEed let me tell you how you will be feeling. The word hypnosis means S011;. That describes it very nicely. The hypnotic type of sleep is quite different from the type of sleep that we e$perience at night. -n the hypnotic type of sleep you will hear my voice( and find it very easy to do as my voice suggests.

The feeling is very similar to the way you feel ust prior to fallen a sleep at night. 4ou are laying in bed( totally rela$ed( but you can still hear sounds in the house or traffic on the road. This is how you will feel while your hypnotiEed. 2y a show of hands( how many people in the audience have ever been hypnotiEed beforeH 7ood( then you people already &now how wonderful it is to be hypnotiEed. -n reality( everyone in this room has e$perienced hypnosis many times before. 6ave you ever found yourself driving down the road( and suddenly realiEed that you didnGt remember passing the last ! or " streetsH This is a light level of hypnosis that everyone goes in and out of occasionally. -n this e$ample( you shifted the responsibility of driving the car over to your mind( and started consciously thin&ing of something totally different. A deep level of hypnosis that many of you have e$perienced from time to time would be( setting an item down. Maybe your &eys or a tool. 4ou then turn around and discover that the item has disappeared. 4ou might even say to yourself( I- &now that - put it right thereI. -f we have children we blame them for moving it. At this point you vent that frustration( turn around and notice that the item is right bac& where you placed it. This is called a negative hallucination. 4ou were either rushed or under to much pressure( so your subconscious mind said( - wont let you find until you unwind. These are both e$amples of using more of your own subconscious abilities. 6ypnosis is simple a way of using more of your own mental abilities. Today many of you will discover ust how powerful your mind really is. - realiEe that there is a large number of people in the audience that are thin&ing( - :A.GT 21 64;.8T-J1,. ;lease( donGt feel bad. This is a very normal thought. Most people that - see are thin&ing( - believe in hypnosis on someone else( but - donGt thin& that - can be hypnotiEed. -f - had to rely upon the few people who come up on stage with the thought( - &now you can hypnotiEe me( and -Gll respond perfectly. - would be out of business. The &ey is to &eep an open mind. ,onGt say yes( but donGt say no. :ome up here with an open mind( that you WANT to be hypnotiEed( and concentrate. 4ou may even surprise yourself. =nder hypnosis you will never do anything that you are morally against. -f - told all of the volunteers to go out and rob a ban& and then bring the money bac& to me. 1veryone of them with sit there and continue to sleep. 4ou will never( ever do anything that is against your will or that would be harmful to you. 8ne of the last things that - hear all of the time is( I3hat if you canGt bring me out of itIH 0et me assure you that it is impossible to ever stay hypnotiEed.

-t has never happened. -t never will happen. -f in the middle of the show - decided that - was going home and left you here. 3hich - would not do. 4ou would simply leave the hypnotic sleep and enter a normal sleep ust as you do each night. 8nce you were rested you would wa&e up. -f someone shoo& your arm you would awa&en. 4ou can never ever stay hypnotiEed. 6ypnosis is a mental state( not a condition. REQUESTING VOLUNTEERS (GUESTS) After the opening statements it is now time to request for volunteers. A hypnotic show or demonstration is wor&ing under the premise of odds. As a rule of thumb the hypnotist should anticipate that about 3+K of the audience will have the ability to go into a deep level of hypnosis e$tremely quic&ly. Appro$imately another 3+K will enter a deep level hypnosis after one or two deepening techniques. Another 2+K of the audience would e$perience too high of an$iety about being stage in order to allow themselves e$perience hypnosis. 3ith 1+K of an average audience still holding onto a strong fear of hypnosis. The remaining 1+K can be divided up into the individuals that do not believe in the e$istence of hypnosis and the people who have come to prove that they can not be hypnotiEed. After understanding the percentages in a show or demonstration the hypnotist may ma&e several decision. The type of hypnotic induction to use( Lslow pace9 or a rapid induction. The ideal type of person to volunteer is the 3+K that can go into hypnosis quic&ly( or the second 3+K that will achieve a deep level of hypnosis after a few deepening techniques. .eedless to say( these individuals will not be sitting in the audience with a sign around there nec& advising you of how they will respond. 8ut of each 1++ people in the audience the hypnotist will have 3+ individuals that would be perfect for his show. The &ey is turning those 3+ individuals from spectators into participants. -t is also easy to see that a larger audience will tend to put the odds more in your favor( while a smaller audience will decrease your odds of attracting the ideal sub ects. -magine a show with 1+++ people in the audience. That would mean that there are 3++ ideal sub ects waiting to be convinced to volunteer. There are several ways of putting the odds in your favor that you will have more than enough ideal sub ects for your show( and thus ensuring a successful presentation. 2e certain that there are plenty of chairs on stage prior to beginning the show. Ten chairs is sending the signal that you only wish to have ten volunteers. 1ven if ten is the number that you

prefer to wor& with it is advisable to double the amount of chairs from the number that you would li&e on stage. -f ten is your number have at least 2+ chairs available. REMEMBER IT IS EASIER TO SEND SOME ONE AWAY THAN IT IS TO GET ADDITIONAL SUB!ECTS. The second way of increasing your response from volunteers is giving a REWARD. The reward does not have to be financial. A statement that you are going to give hypnotic suggestions for self confidence can be reward enough. A boo&( tape( or other priEe to the individuals that turns out to be the star of the show will serve two separate purposes. The enticement of a priEe will increase the amount of participants that you have on stage. -t has also been proven that the priEe can start a friendly competition between the volunteers on stage to see who will be selected as the star of the show. -magine a group of twelve volunteers all striving to be selected as the star of the show. 3hen giving a single priEe 213A/1 of the individualLs9 that may be fa&ing hypnosis in order to win the priEe. These types of people will be discussed on the following page. The third technique is to reinforce the thought that the more intelligent a person is the better they will respond. This technique will also improve the number of volunteers while insuring the proper responses. THE ACTOR The actor is the person that is really not under hypnosis( but is pretending to be hypnotiEed. The actor can be divided into one of two categories. The first he or she is not there to disrupt your show( but rather than being turned away they are cooperating with every suggestion. There will be many times when the actor by pretending to be hypnotiEed will actually slip into a hypnotic state. 3e have all heard that if you pretend something long enough( it becomes a reality. The second positive effective of this type of actor is that he or she may stimulate other volunteers in responses. The type of actor to dismiss without e$ception is the one that is there to disrupt the show. This individual will over e$aggerate each suggestion. This person if left on stage will either open their eyes and wave at the audience while your bac& is turned( or will try to embarrass you during one of the s&its by standing up and saying - was never hypnotiEed( and then wal&ing off the stage.

STAGE FORMAT 3hen we use the term stage format( we are referring to how the stage is in relationship to audience.

-f members of the audience can not see what is ta&ing place on stage you will lose their interest and they may then become disrupted to the show. As mentioned earlier it is advisable to double the amount of chairs that you plan to use. Most entertainers find that 1+ to 12 volunteers are the most that can be handled easily. -f the entertainer is striving for 12 volunteers he or she will need a stage that can accommodate 2! chairs. -f we &eep in mind that we are starting with 2! chairs( but plan on only using 12 people it does not matter if the chairs are set one in front of the other. 8n the following page notice several possible stage format. The dar&en $Gs represent the chairs that will stay throughout the show. The regular $Gs represents the chairs that will be removed. 1. 2. @@@@@@ XXXXXXXXXXXX @@@@@@ XXXXXX XXXXXX @@@@@@ @@@@@@

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Any type of seating that allows the ma$imum amount of the audience to see the most of the sub ects will do well. -f you spotter &eep in mind that he or she will need room to move also.

THE USE OF A SPOTTER A spotter may be used to ensure that no one receives any in ury in your show. The spotterGs ob is to watch the volunteers and ma&e sure that no one falls over in a chair( falls off the stage and so on. 2y &eeping in mind that many people respond very quic&ly under hypnosis it is easy to see that the performer can not see all of the sub ects at all times. The spotter may be one of your own assistance or he or she could be a member of the audience that would li&e to volunteer to help out with the show without actually participating under hypnosis. There is not a need for the spotter to have any real &nowledge of hypnosis. The understanding that we do not want any getting hurt is enough. =sually one spotter can handle " or # sub ects. -f the group is more laid bac& the number of spotters may reduced. -f the group is e$tremely wild the number of spotters needs to be the increased. The spotters are normally positioned behind the sub ects. THE USE OF AN ASSISTANT The use of an assistant can be of a great value to your show. =nli&e the spotter the assistant must have a &nowledge of hypnosis and your show. An assistant can serve several different functions beginning of the show all the way to the end. INTRODUCTION. -t is difficult to receive a better introduction than from your own assistant. 6e or she can create the e$pectations that are needed to ensure a successful show. -t is always better to hear positive things about the performer from some one other than the performer himself. ASSISTING VOLUNTEERS. As the volunteers are coming up on stage it may be difficult for the hypnotist to greet each and everyone of them. The use of name tags for each sub ect will allow the hypnotist to call each sub ect by name. 4our assistant can be obtaining names while individuals are coming forward. SUGGESTIBILITY TEST. An e$perienced assistant will help to eliminate the individuals that do not respond well to the suggestibility test. SPOTTER. The assistant will ma&e a very good spotter. 6e or she will &now the types of s&its that people tend to become more animated on.

MUSIC. An assistant can aid with the show with the use of music. -f your assistant has the ability to play an instrument such as an organ or guitar( he or she can add quite a bit to the various s&its. Music may also be used by an assistant by means of a tape player. ;rerecorded music that will wor& with various s&its can selected in advance. DISMISSING SUB!ECTS. The assistant will be able to dismiss a sub ect that is either responding poorly or not at all. This will free the hypnotist up to continue with the show without interruptions. -f the assistant does not feel comfortable with selecting sub ects to be dismissed the hypnotist may simple signal to the assistant the individuals to be sent bac& to their seats. EXITING THE HYPNOTIC STATE. 8ne way of ending a hypnotic show is to send the sub ects bac& to the audience while performing a s&it. The assistant may go out into the audience and bring the sub ects out of hypnosis while the performer is continuing with the show. A good assistant can easily ta&e away a large portion of the wor& load that would have normally been performed by the hypnotist. 8n a S;S the assistant could prove to be the &ey in effective mar&eting of the show( and securing locations. The obs for an assistant is endless. SUGGESTIBILITY TEST A suggestibility test is a way of selecting sub ects that should respond best to the hypnotic suggestions. The suggestibility tests are normally performed after the volunteers have come on stage( but prior to a hypnotic induction. 3ith a small audience many of the suggestibility tests can be performed on the entire audience. SPECIAL NOTE -t has been proven that it is best to term concentration test( rather use the than suggestibility test. Some people tend to associate the idea of being suggestible with being gullible. -t is rare to find an individual that is trying to fail a concentration test. -f the hypnotist is striving for 12 sub ects for his show and only has 12 or less volunteers it would be advisable not to conduct the concentration test. 3ith a small turn out you do not want to dismiss any possible sub ects. -f need be they can be dismissed after the induction. FINGER TEST 6ave the sub ects interlace their fingers together and then have them e$tend the two inde$ fingers up and spread them apart. 4ou will then begin to deliver suggestions that the fingers are pulling together as if there was a rubble band stretched between the two fingers. 8nce the fingers

touch( have the sub ects unclasp their fingers. LIGHT AND HEAVY ARMS 6ave the sub ects e$tend both of their arms out directly in front of them. After having the sub ects close their eyes begin with suggestions that are the right arm you are attaching a helium balloon. <eel it becoming lighter( and lighter. .ow begin suggestions that are the left wrist you are draping a heavy iron buc&et across the left wrist. The buc&et is now being filled with wet( moist heavy sand. :ontinue suggesting that the right arm is feeling lighter( and lighter( while the left arm is feeling heavier and heavier. After a few moments have the sub ects open their eyes without moving their arms( and loo& at where their arms are and the other people around you are. FALL BAC" TEST The following test may be conducted either with or without the aid of an assistant. 1ither the hypnotist or an assistant must be standing behind the sub ect. 3hile standing have the sub ect place their feet together( and their head titled bac& with the eyes closed. 2egin to give suggestions that their body is beginning to sway. As the body begins to sway give suggestions that they are beginning to fall bac&( but you will stop them from falling. As the sub ect begins to fall( stop them from falling. NOTE FOR FEMALE SUB!ECTS THAT ARE WEARING HIGH HEELED SHOES# HAVE THEN REMOVE THEIR SHOES PRIOR TO THIS TEST. HAND CLASPED 6ave sub ects clasp their hands together with the fingers interlaced. 6ave them stare at their hands only. 2egin to give authoritarian suggestions that the hands are becoming loc&ed together. As you count from " down to 1 begin with suggestions that they are squeeEing the hands together so tightly that they will not separate. 8n the count of 1 have them try to pull the hands apart. They will be stuc& together. After a few moments give the suggestion to rela$( and the hands come apart. THE USE OF YOUR VOICE 3hile giving suggestions either for a suggestibility test or during the show your voice and tone can dramatically increase your effectiveness. <or e$ample when you are delivering suggestions that the left arm is becoming heavier( and heavier( lower your voice slightly. 3hile tal&ing about the right hand becoming lighter raise the tone of your voice. -f the sub ects were going to laugh out loud you would have a laugh or chuc&le to your voice as you delivered the suggestions. Anything the hypnotist can do in order to relay the correct suggestions will add to the show or presentation.

3ith a little practice you will find that changing your voice and inflections will become almost automatic in every s&it. THE CORRECT GESTURES -n the same way that the hypnotist can add to a suggestion by the use of his voice( the correct gestures will also send a positive message to the sub ects. -f you were showing the sub ects how to interlace their fingers for the hand clasp test in which they would be unable to separate their hands the hypnotist would also loc& his hands together( 8n the light and heavy arm test the hypnotist could show how slowly moving the arms would be moving. The right arm upwards( while the left arm slowly moving downward. 3ith the use of the right types of gestures we have both a visual and an audio suggestion wor&ing for us. -ndividuals learn by SEEING HEARING AND FEELING. 3ith the &nowledge that an individual learns by seeing( hearing and feeling the more of these three senses that you can tune into the easier it will be for the sub ects to respond to your suggestions. 0ater in the class you will learn how to use the sense of feeling as a powerful deepening technique. DISMISSING SUB!ECTS Many shows will produce more volunteers than the hypnotist could ever have room to seat or handle correctly. This is when being able to dismiss a sub ect and send them bac& to their seats should be handled in a diplomatic way. 8nce the hypnotist has conducted the suggestibility tests he or she should select the individuals that performed the tests the best. -t is important not to humiliate the individuals that volunteered that will be sent bac& to their seats. -f you come across as seeming harsh you will lose the rapport that is needed with the remaining sub ects. The following is an acceptable statement. <irst( - would li&e to than& all of you for volunteering( you all did e$cellent. 6owever( - am only going to be able to use 12 of you. Those of you that - send bac& do not be offended. t doesnGt mean that you canGt be hypnotiEed. - have seen people who did not ma&e it for one show and they tried again and did wonderful. 8nce again than& all of you for coming up. The people who - have selected may have a seat and the others may go on down the steps and en oy the show. 0etGs give them all a hand for volunteering.

HYPNOTIC INDUCTIONS <or many individuals the thought of actually inducing the hypnotic state seems to be a frightening e$perience. These fears are totally unneeded. -f we &eep in mind that the ability top go into hypnosis belongs to the sub ect( and the hypnotist is simply saying thee correct words( at the correct time. A better word than hypnotist or hypnotherapist would have been a hypnotic guide. -f we &eep in mind that you are leading a person into a state that they have the mental and physical ability to achieve the induction procedure is the easiest part of your ob. 8n the following pages you will see several different types of hypnotic inductions. 4ou will discover that the only thing different from one induction to another is the speed in which an individual will enter the hypnotic state. As one develops more e$perience with inducing hypnosis they learn to select the type of induction that will best suit the type of demonstration that is being conducted. -n a demonstration of hypnosis as opposed to a therapy type of session the hypnotist is limited some what on the amount of time that can be spent on the actual induction of the hypnotic state. The hypnotist needs to &eep in mind that most of the individuals in the audience will not understand the mechanism of hypnosis that are ta&ing place as an individual leaves a fully conscious state and enters the hypnotic state. These people are there for entertainment and are not overly interested in the hypnotic process. ;rior to the hypnotic induction it is advisable to as& for the audience cooperation to be as quiet as possible under the sub ects are in a hypnotic state. To hope that an audience of two or three hundred people will remain quiet for 1" to 2+ minutes will never ta&e place. A safe rule of thumb is to try and have the induction over within five minutes. -t is not unreasonable to have the audience remain quiet for five minutes. S;1:-A0 .8T1C A0T68=76 <-51 M-.=T1S -S T61 M8ST ,1S-/1, T-M1 ;1/-8, -< T61 64;.8T-ST -S 38/*-.7 3-T6 A 083 .=M21/ 8< S=2?1:TS 8/ 61 6AS A 7/8=; T6AT .11,S M8/1 ,11;1.-.7 T8 /1S;8., 3100 48= 3-00 A03A4S 21 21TT1/ 8<< S;1.,-.7 M8/1 T-M1 T8 /1A:6 A. A,1>=AT1 01510 T6A. T8 ATT1M;T A S683 3-T6 T61 S=2?1:TS 8.04 -. A 0-76T STAT1. ,o not allow yourself to get rushed into the actual show until you are ready. -f you spent to long on the induction process and had a positive show the audience will be recalling the last few s&its that were conducted rather than the time you spent on inducing the hypnotic state. The audience will udge your show by the last five to ten minutes of the performance. -f the hypnotist is faced with the decision of spending a longer time inducing the hypnotic state and having a wonderful show or a shorter time on the induction with the show being only adequate( spend the e$tra time. -t will always be worth the wait.

The following is the statement that is made for the audience ust prior to beginning the hypnotic induction. This statement is designed to as& for the audience help in remaining quiet during the induction while at the same time advising the audience that they may also go into hypnosis if they would li&e. Ma&e note that this statement( is also reinforcing the wonderful concentration that the sub ects have. 3e are now ready to allow my guests up here on stage to e$perience hypnosis. - need you help in the audience. -t does ta&e a lot of concentration on their part to go into a deep hypnotic state. So( - would li&e to as& all of you to remain as quiet as possible for the first five minutes or so. 8nce we have them hypnotiEed you can ma&e all the noise you want. They will still hear you( but it wonMt disturb them at all. 6owever( if you ma&e a lot of noise and distract them( we will have to stop and start all over( and that would not be fair to the people up here on stage or the people in the audience that are trying to go under. 7ive me about five minutes and we will have a better show for you. -Gll let you &now once they are under by waving my hand in the air. Than& you very much. THE FOUR MECHANISMS OF HYPNOSIS There are basically four different elements that allows hypnosis to ta&e place whether it is in a therapy session or a stage show. The first important element is 210-1<. 8ver the years every hypnotist has heard the statement( donGt believe in hypnosisI. -n reality what the individual is actually sayings is( I- have a fear of hypnosis. Anything that we have a fear of it is easier to pretend that it does not e$it( rather than verbally admitting that we are afraid. The hypnotist creates the belief simply by appearing on stage. 6ow many people would appear on stage in front of hundreds of individuals to perform a show using hypnosis if hypnosis was not realI 4ou can be sure not to many. <rom your audience stand point( 6ow many people would pay to see a show that they really( believed would never ta&e place 8nce again we see that the belief is present throughout your audience. The second important mechanism is :8.:1.T/AT-8.. Although the hypnotist can not give concentration to a person that has none( he can help increase an individuals ability to concentrate. As was discussed earlier with suggestibility test( we show the sub ects their ability to concentrate. The hypnotist further reinforces the idea of concentration through his opening statements by giving e$amples of times where each and every sub ect has demonstrated their ability to concentrate. 1$amples of driving a car and not recalling the last few streets that were past. The concentration is also enhanced with the suggestions to the audience to remain quiet for the first few moments of the show.

<inally the last element that the hypnotist has wor&ing for him is that everyone else on stage is concentrating - should do the same. -n a show or presentation we are wor&ing under the thought of Imob psychologyI. This is where a person gets so wrapped up into what the other people are doing that they tend to automatically follow suite. Another very powerful mechanism of hypnosis is 1@;1:TAT-8.. 1$pectation is the easiest of all of the hypnotic mechanism to implement during a stage show. <or most people this may be the first time in their life that they have ever been on a stage in front of an audience. 3ith this being a new e$perience there is no way to have any preconceived ideas or e$pectations. The individuals will e$pect the type of sensation and feelings that the hypnotist described during his opening statement. The e$pectation is even higher for members of the audience that has watched a successful hypnosis show in the past. -t does not matter if the show was live or broadcasted on television. The individuals will have a tendency to e$pect to behave the way that they have seen others respond. The negative side of the e$pectations is when an individual has seen a hypnotic demonstration that was not successful. This person may be going into the show e$pecting to fail. .ormally the person that has seen a negative response with hypnosis would not volunteer as one of your sub ects. 6e or she would prefer to watch the show from the audience. A successful show could change the view point of hypnosis entertainment. The last( but by no means the least important mechanism of hypnosis is the -MA7-.AT-8.. The imagination is the most powerful element that we have wor&ing for us in a hypnosis show. There is hardly a person around that at one time in their life their imagination played tric&s on them. -t may have been after watching a horror movie and we started to hear sounds in the house. -t could have been something that we thought we saw or simply a feeling that we had. :hildren are born with a wonderful imagination. They can hear( see( and e$perience things that most adults would have problems with. -t is important to &eep in mind that adults are simply children grown tall. There is still a lot of child in all of us. The imagination that we had as children has not vanished( it simple has laid dormant( not in use. 3ith hypnosis we can begin to e$cite the imagination. 8nce we have use of the imagination we can do almost anything.

<ive L"9 levels of hypnosisC L19

:haracteristicsC La9 Lb9

L29

:haracteristicsC La9 Lb9

L39

:haracteristicsC La9 Lb9 Lc9 Ld9 Le9

L!9

:haracteristicsC La9 Lb9 Lc9 Ld9 Le9

L"9

:haracteristicsC La9 Lb9

RAPID INDUCTION NOTE THE "EY TO ANY TYPE OF HYPNOTIC INDUCTION IS FOR THE SUB!ECT TO BE WILLING TO ENTER HYPNOSIS. 3ith the sub ect standing with both feet together( arms limp their sides. 6ypnotist places his left hand on the sub ects right shoulder( near the nec&. - want you to loo& right at me. Are you ready to go into a hypnotic sleepH LM=ST 21 A 41S /1S;8.S19 - am going to count from " down to 1. 8n the count of 1 your eyes will close and your whole body will become loose and limp. 6ave no fear of falling - will catch you.

<ive the eyes are beginning to close. <our( on the count of 1 let the eyes close and the whole body rela$. Three( the eyes are beginning to close. Two( get ready( almost there( want it to happen( watch it happen( feel it happening. 8ne( eyes closing down now. S011;. .8T1C The very second that the eyes close give the :8MMA., sleep while pulling the sub ect forward( causing them to loose their balance. 2e prepared to catch the sub ect( and lower them to the floor or a chair. RAPID INDUCTION ($%&'())(*% + 1) 2egin with sub ects sitting in a straight bac& chair. Are you ready to go into a hypnotic sleepH LMust have yes response 9:lose your eyes and ta&e in a few deep breaths and rela$ with each breath that you ta&e. - am now pic&ing up your right hand. .8T1C ;-:* =; S=2?1:TS 6A., AS -< 48= 31/1 78-.7 T8 S6A*1 6A.,S. -n ust a moment - am going to have you open your eyes and loo& at me. - will then count from 3 down to 1. 8n the count of 1 your eyes will close again and your whole body will feel loose and limp. 4ou will quic&ly enter a hypnotic sleep. ,o you understandH L3A-T <8/ A .8, 8/ A 41S S-7.A09 .83( - 3A.T 48= T8 8;1. 48=/ 141S A., T/4 T8 *11; T61M 8;1. =.T-0 - /1A:6 T61 .=M21/ 1. T6/11 48=/ 141S A/1 <110-.7 61A54( T/4 T8 680, T61M 8;1.. T38( A0M8ST T61/1( 8. T61 :8=.T 8< 8.1 T614 MA4 :08S1 A., <110 38.,1/<=0. 71T /1A,4. 8.1( 141S :08S-.7 A., S011;. .8T1C At the moment that the eyes close( firmly pull the right arm in a downward movement( while delivering the command of sleep. RAPID INDUCTION (PERMISIVE + ,) .8T1 T8 64;.8T-STC -T -S -M;8/TA.T T8 /1A0-J1 T6AT T61 A2-0-T4 T8 78 -.T8 A 64;.8T-: STAT1 -S T61 :0-1.TS A2-0-T4( A., .8T /10AT1, T8 T61 64;.8T-ST. T61 64;.8T-ST -S S-M;04 A 7=-,1( 01A,-.7 T61 :0-1.T -.T8 A 01510 8< 64;.8S-S. A<T1/ A::1;T-.7 T61 <A:T T6AT T61 A2-0-T4 T8 1.T1/ 64;.8S-S -S T61 :0-1.TS A2-0-T4( A., .8T T61 T61/A;-STS( 31 S11 T6AT T61 T-M1 S;1.T 8. -.,=:T-8. S68=0, 21 /10AT1, T8 T61 :0-1.TS 3-00-.7.1SS T8 1.T1/ 64;.8S-S >=-:*04. - would li&e you now( to ta&e in three deep( easy breaths. As you e$hale each time( would li&e you to rela$ the muscles in( and around your eyes.

2y the third breath you will have rela$ed the muscles in( and around the eyes to the point that the eyes( no longer want to open. .ow( ta&e in three deep( easy breaths( and rela$ the eye muscles totally as you e$hale. LA0083 T61 :0-1.T T8 TA*1 -. T6/11 2/1AT6S( A., ;/8:11,.9 7ood( you have now rela$ed the eyes to the point that they no longer want to open. would li&e you now to rela$ the eyes to the point that( they will not open. 8nce you have rela$ed T61M( ma&e sure that they will not open. LA0083 A T1ST9 RAPID INDUCTION 2egin by having the client hold their arms stretched out directly in front of them( so that the palms of the hands are facing each other. 6ave the hands about # inches apart. ;roceed in the following manner. 4ou may now lower your hands bac& to your side. -n ust a moment - am going to have you bringG your hands bac& to this position( and you will find it very easy to go into a deep( pleasant level of hypnosis in ust a matter of seconds. 3ould this be alright with youH NNNNNNNNN .8T1 T8 64;.8T-STC 48= M8ST 6A51 T61 :0-1.TS :8.S1.T 21<8/1 ;/8:11,-.7 A.4 <=/T61/. .ow close your eyes( and ta&e in a couple of deep easy breaths. 6old each breath for a moment and then e$hale slowly. -n ust a moment - am going to have you e$tend your arms in front of you( ust as you had them a moment ago. 3hen - as& you to move your hands to this position - am then going to have you open your eyes( and follow my simple instructions. /emaining rela$ed( and at ease - want you to e$tend your arms out in front of you ust as you had them earlier. .8T1 T8 64;.8T-STC A<T1/ :0-1.T 1@T1.,S T61-/ A/MS A,?=ST T61 ,-STA.:1 21T311. T61 6A.,S T8 A28=T S-@ -.:61S( A., T61. ;/8:11, AS <80083S. 680, 48=/ -.,1@ <-.71/ AT 141 01510( A., -.ST/=:T :0-1.T T8 <80083 T61 M851M1.T 8< 48=/ <-.71/. S08304 M851 48=/ -.,1@ <-.71/ 21T311. T61-/ 6A.,S. .ow - want you to concentrate on my finger. -n ust a moment - am going to move my finger away( and - want you to begin to concentrate on the spot where my finger was. .8T1 T8 64;.8T-STC >=-:*04 M851 48=/ <-.71/ -. A ,83.3A/, M8T-8.( A., :8.T-.=1 -. T6-S 3A4. 4ou are doing good. *eep concentrating on the spot where my finger used to be. - am going to begin to count from 3 down to 1. 8n the count of one allow your eyes to close. Three your eyes are feeling heavy( and tired. Two( they are beginning to water( and tear slightly. Three( so heavy ust allow them to

close( and rela$. 1ven with your eyes closed you can still imagine that spot between your hands. - am now gently touching your hands( and as - do notice that your hands are beginning to move together. -n ust a moment your hands will touch. As they touch your entire body will feel loose( and limp. 4ou will be going into a very deep hypnotic state. The hands are moving closer( and closer. The moment that they touch the whole body becomes lose and limp. 4ou will be going into a very special &ind of sleep. Almost there get ready to let go. The moment that they touch a very deep special type of sleep. .8T1 T8 64;.8T-STC AS T61 6A.,S M851 T871T61/( 6A51 48=/ 6A.,S -. A ;8S-T-8. T6AT 3-00 A0083 48= T8 0-76T04 S0A; T61 8=TS-,1 8< T61 :0-1.TS 6A.,S( A., T6=S ;=S6-.7 T61M T871T61/. 48= M8ST 21 /1A,4 T61 M8M1.T T6AT T61 :0-1.TS 6A.,S T8=:6. AT T61 1@A:T M8M1.T 361. T61 :0-1.TS 6A.,S T8=:6( /A;-,04( A., <-/M04 S0A; T61 T38 6A.,S T871T61/ 36-01 7-5-.7 T61 :8MMA., T8 S011;. AT T61 SAM1 M8M1.T 0-76T04 A;;04 A ,83.3A/, M8T-8. T8 T61 :0-1.TS 6A.,S. T6-S 3-00 :A=S1 T61 :0-1.T T8 21., AT T61 3A-ST. A0083 T61 A/MS T8 ,A.701 AT T61 :0-1.TS S-,1. ;/8:11, 3-T6 A.4 T4;1 8< T61/A;4.

HYPNOTIC INDUCTIONS SLEEP .8T1 T8 64;.8T-STC T61 <80083-.7 -.,=:T-8. -S =S-.7 T61 38/,S S011; T6/8=768=T T61 -.,=:T-8.. -T -S -M;8/TA.T T8 1@;0A-. T8 T61 :0-1.T ;/-8/ T8 T61 S1SS-8. T6AT A0T68=76 48= MA4 21 =S-.7 T1/MS 8< S011;( T6AT T614 3-00 .8T 21 AS011; -. T61 SAM1 3A4 T6AT T614 A/1 AT .-76T. ST/1SS T6AT T614 3-00 ST-00 21 A3A/1 8< 151/4T6-.7 T6AT -S 6A;;1.-.7 A/8=., T61M. 3ith your eyes closed - would li&e you to ta&e in a deep breath( hold it for a moment and e$hale slowly. As you continue breathing in deeply( and e$haling slowly you are starting to notice a very heavy feeling covering your entire body. 1verything is becoming heavier( and heavier. -t is beginning to feel as though you were moving into a state of S011;. .ow this S011; is quite different than the sleep that you e$perience at night. -. this S011; you can hear my voice( and do has my voice suggests. 1ach time - say the word S011;( S011;( S011;. 0et yourself go deeper into this wonderful S011;. As you sit there in

this pleasant dar&ness it is easy for you to go deeper into this perfect S011;( S011;( S011;. HAND TO FACE INDUCTION -.ST/=:T-8.SC Tell client to get as comfortable as possible with there arms resting on the arms of the chair. Show client how you would li&e them to hold their hand in front of their face. ;alm of their hand facing in towards them( with fingers pointing upward pressed lightly together. 6and should be about eye level. 2egin with progressive rela$ation and then proceed with the 6and to <ace induction. I-n ust a moment( when - as& you to( - am going to have you bring one of your hands up in front of your face( fingers e$tended upwards and pressed together. - am then going to have you try to open your eyes( and pic& a spot on your hand. -t may seem difficult to open the eyes( and &eep them open( which is only natural since you have been rela$ing so far. - am going to want you to try( and open your eyes( and with a little effort you will at least be able to get them open. .ow( the one thing that you must accomplish is that - want you to remain totally rela$ed( and at ease even with your eyes open( and your hand in this position. /emaining rela$ed( and at ease( move your hand up in front of your face with the fingers pointed upward( and pressed together. .ow( attempt to open your eyes( and pic& one spot on your hand( and begin to concentrate on it. As you concentrate on that one spot( and one spot only( your fingers are going to begin to spread apart. 4ou do not have to ma&e them spread( but do not try and stop them. :oncentrate( and allow things to ta&e place. <eel them spreading apart now. Automatically separating now. -t is beginning to feel as though there was a string tied to each finger pulling them apart. Separating further( and further. .8T1( T8 64;.8T-STC 8.:1( T61 <-.71/S 6A51 S1;A/AT1,( ;/8:11, -. M1 <80083-.7 3A4. .ow( please do not let it disturb you that the drowsy heavy feeling in your eyes is becoming stronger now that your fingers have spread apart. -t is a very normal( natural sensation. As - begin to count from " down to 1 that heavy( drowsy feeling will continue growing stronger. .8T1 T8 64;.8T-STC AT T6-S T-M1 217-. :8=.T-.7 S08304 </8M " T8

1 36-01 7-5-.7 S=771ST-8.S <8/ 141 :08S=/1. ,10-51/ S=771ST-8.S( AS T61 :0-1.T /1S;8.,S. HAND SHA"E INDUCTION .8T1 T8 64;.8T-STC T61 <80083-.7 64;.8T-: -.,=:T-8. =T-0-J1S A00 T6/11 8< T61 01A/.-.7 M8,1S. T61 :0-1.T 3-00 21 /1S;8.,-.7 T6/8=76 61A/-.7( S11-.7( A., <110-.7S. 217-. 3-T6 T61 :0-1.T S-TT-.7 -. A :8M<8/TA201 :6A-/( A., ;/8:11, -. T61 <80083-.7 MA..1/. 6ypnotistC 3ould you li&e to e$perience the state of hypnosisH After a yes response( have the client e$tend his or tier arm to you as though you were going to be sha&ing hands. Ta&e the clients hand with your right hand while ma&ing sure the clients arm is straight. - would li&e you to loo& at me for ust a moment. As you focus your eyes on me( and listen to my voice( - would li&e you to allow things to ta&e place. Slowly begin raising( and lowering( the clients arm. The up and down movement of the arm should be about three inches each way. As - raise and lower your arm( - wonder if you have noticed yet that there is a drowsy( heavy feeling beginning to occur in and around your eyes. 1ach time - raise your arm upward( that heavy feeling in those eyes will &eep becoming stronger. As the eyes begin to close down( it becomes increasingly more desirable to allow them to remain closed. They are closing down all the way now. 0et it happen. 3ant it to happen. <eel it happening now. Ma&e special note to when the eyes begin to blin& or start to close. This will be a signal to the hypnotist to reinforce that feeling by raising the arm higher into the air. The client will quic&ly associate the raising of the arm with closing of the eyes. DEEPENING THE HYPNOTIC STATE 1very individual with normal intelligence has the ability to achieve a hypnotic state. The level of hypnosis that is reached will vary from one person to another and will also change from day to day even with the same person. This is why it is so important to be able to deepen the hypnotic state. An individual will actually alter the level of hypnosis several times within a 3+ minute time period. A sub ect may enter a deep level of hypnosis almost instantly and begin to move into a lighter state( and then start to reach a deep level once again.

-t is very unli&ely for a sub ect to reach a certain level of hypnosis and maintain that level throughout the show or presentation. This is why it is also important to ascertain which level a sub ect is in at any given time. 8n the following page you will discover the five levels of hypnosis and how to distinguish one from the other. The hypnotist should &eep in mind that it is impossible to ever overBdeepen the hypnotic state( so there is never a reason to avoid using deepening techniques. THE FIVE LEVELS OF HYPNOSIS 3A0*-.7 STAT1

0-76T STAT1

S8M.AM2=0-ST STAT1

64;.8T-: :8MA

64;.8T-: S011;

STAGE SHOW DEEPENING As you continue sitting there in this pleasant dar&ness( you find that you can loo& into this dar&ness further( and further. As you loo& further into the pleasant dar&ness you can simply allow yourself to rela$. As you sit in the dar&ness rela$ing more with each breath you will find and discover that you have the ability to escape outside sounds and noises by simply going deeper than then. And now as - begin to count from " down to - let your mind and body rela$ even more into that pleasant wonderful dar&ness. " ... 3e ta&e the first step downward ... each muscle and nerve grows more loose( limp ... and rela$ed. ! ... That wave of rela$ation begins spreading all across your body. 3 ... 7oing down ... deeper ... drowsy ... rela$ation. 2 ... 4ou are rela$ing more with each breath that you ta&e ... each sound that you hear. 1 ... Simply rela$ all the way down ... whole body ust loose and limp( rela$ed and at ease. DEEPENING As you continue sitting there in this pleasant dar&ness( 4ou find that you can loo& bac& into this dar&ness further( and further. 4ou have the ability to escape outside sounds and noises by going deeper than then. The dar&ness will now begin to change. As the dar&ness begins to change( you will rela$ even deeper than you have before. This change will be noticeable in a visual way. The chance may begin with colors. Many people report a variety of colors. This visual change might be as simple as shading. 4ou may e$perience a sensation of light and then dar&ness. /egardless of whether the change is a color( an image( or dar&ness the chance will begin. 1ach time your subconscious mind encounters a change( you will a feel yourself rela$ing deeper. This deeper rela$ation will be a wonderful sensation that you will loo& forward to. 4ou

are now loo&ing for these visual changes so that you can rela$ even deeper( and en oy it even more.

METAPHOR + , FOR DEEPENING. .8T1 T8 64;.8T-STC -< T61 :0-1.T -S A MA01( =S1 A SMA00 284 -. T61 M1TA;68/. -< T61 :0-1.T -S A <1MA01( =S1 A SMA00 7-/0 -. T61 M1TA;68/. - want you to imagine a little boy( wal&ing through the woods on a beautiful spring day. -magine this child wal&ing down a path in the woods. 6e is at ease( and secure. As you imagine this child in the woods( you will continue rela$ing even further( and noticing yourself slipping into a state that is much li&e a deep( deep dreaming state. This scene will continue becoming more vivid( and real to you. This young boy is coming upon a clearing ust ahead. 0i&e most children he can hardly wait to discover what he will encounter in this clearing. 6e begins to see a beautiful meadow( with the grass so green( the s&y blue( and the air fresh( and clean. To his right( he notices a small pond. This young boy bends over( and pic&s up a stone. 6e then tosses the stone into the pond. As the stone hits the water the child sees the ripples in the water. They begin with a small circle( and continue growing larger( and larger. 6e proceeds to toss a second( and third stone into the pond. 3ith each stone he tosses( the water begins to create the ripples. 2eginning at the location where the stone first hit the water( and then moving out ward all the way to the ban&. This young boy finds a comfortable place to sit down where there is still a large supply of stones. 6e then proceeds to toss the stones into the water one at a time( and he watches the rippling effect of the water. 3atching the ripples in the water causes this little boy to begin to feel very rela$ed( and sleepy. 6e is now laying on his side( tossing the stones into the water( while feeling drowsy has he watches the ripples of the water slowing moving from the center of the pond to all sides. Soon the boy closes his eyes( and begins to drift off into a pleasant nap. As he begins to drift off to sleep. 6e has a mental image of the pond( and the rippling effect of the water. AUDIO DEEPENING

The following technique wor&s e$tremely well in two different modes. <irst( it will aid your client in reaching a deeper level of hypnosis. Second( it will reinforce the aspect of distracting the conscious portion of the mind. 6ere is the way the technique wor&s. As youGve been listening to the tone of my voice( you have found yourself continuing to rela$ even deeper. 4ou may or may not have even realiEed that there is more ta&ing place than simply the words that - am sharing with you. At least subconsciously( your mind has been able to interpret different tones( volume changes( and emphasis on one word opposed to the other. As - continue spea&ing with you today( each time your mind interprets a different change in the tone of my voice( the volume of my voice( or a change in the emphasis of the words( you will automatically discover that you have rela$ed even deeper. :onsciously there is no need to pay attention to these changes. 4our subconsciously mind will hear and will respond to these changes in a wonderful( beautiful( positive way. 0et yourself rela$ deeper as you listen( as you e$perience and encounter these changes. DEEPENING BY MUSCLE RELAXATION .8T1 T8 64;.8T-STC T61 <80083-.7 T1:6.->=1 S68=0, 21 =S1, A<T1/ T61 64;.8T-: -.,=:T-8.. A0T68=76 T61 :0-1.T 3-00 A0/1A,4 21 1@;1/-1.:-.7 A ,17/11 8< ;64S-:A0 /10A@AT-8.( T61 <80083-.7 S=771ST-8.S 3-00 A0083 T61M A. 151. M8/1 ;01ASA.T <110-.7( A., 3-00 ,11;1. T61 64;.8T-: STAT1. 4ou &now that if - as&ed you to( you could clench your fist together so tightly( that it would seem almost impossible to ma&e it any tighter. That would be the ultimate level of tension in your fist. -n the same way( if - as&ed you to rela$ your hand( you could rela$ that hand so far that it would seem impossible to rela$ it any further. That would be the ultimate level of rela$ation. - would li&e you now to begin and tense up the muscles in your feet. ThatGs right ma&e the muscles in and around your feet( as tight as possible. .ow( rela$ your feet. /ela$ every muscle in and around your feet until you have reached the ultimate level of rela$ation. .ow letGs duplicate the same procedure again. This time - would li&e you to tighten up all the muscles in your legs. 8nce you have created the tight feeling( begin to rela$ your legs totally. .ow start with tightening the muscles in your abdomen( and then allow them to rela$. -t is time now to tighten up the muscles in and around your shoulders( and then allow them to rela$ all the way. Tighten up the muscles in your hands( and arms( and then allow them to rela$ all the way.

<inally( begin to tighten the muscles in your forehead( and eyes. .ow allow them to rela$ all the way. -t is now time to be certain that every single part of your body is rela$ed( to the ultimate of rela$ation. REPEATED INDUCTION (DEEPENING TECHNIQUE) .8T1C 8.:1 T61 :0-1.T 6AS /1A:61, T61 ,1S-/1, 01510 8< 64;.8S-S ;/8:11, -. T61 <80083-.7 3A4. in ust a moment - am going to count from 3 down to 1 and when - reach the number one your going to open your eyes and be fully alert feeling great( but when - say the word S011; you will ta&e in a nice deep easy breath let the eyes close down and go into an even deeper hypnotic state then you are in at this moment. To show me that you understand ust easily nod your head yes. L3A-T <8/ /1S;8.S1 T61. ;/8:11,9 7ood ... 3 coming bac& and up to a wide awa&e alert state feeling great through the mind and body. 2eing able to rela$ is always en oyable 2 you are feeling rested and refreshed( loo&ing forward to e$periencing an even deeper state of rela$ation. 1 at your own pace when you are ready ta&e in a deep easy breath eyes opening easily feeling wonderful as they do. 6ypnotistC That was great wasnGt it. Are you ready to go even deeperH 7ood - want you to ust S011; ta&e in a nice deep easy breath let the eyes close down and go into an even deeper hypnotic state then you were in before feeling wonderful. 64;.8T-ST 48= :A. .83 ,11;1. -< ,1S-/1,. .8T1C T6-S ;/8:1,=/1 :A. 21 =S1, M8/1 T6A. 8.:1 ,=/-.7 T61 64;.8T-: S1SS-8.. DEEPENING BY COMPOUNDING As you continue to drift off into the pleasant dar&ness of rela$ation( every muscle continuing to grow more loose( limp( rela$ed and at ease you will find and discover that the deeper you go into this wonderful rela$ation the better you will feel. The deeper you go( the better you will feel. 4ou have found something amaEing within yourself( the ability to rela$ and yet concentrate at the same time. - wonder now if you will allow yourself to go even further into this pleasant dar&ness then you were ust a moment ago( freeing yourself of all tension( stress( worries frowns( thoughts or ideas in fact your own breathing can allow you to rela$ even further than you are right now. freeing your self for success and accomplishment.

THE SEVEN DEEPENING TECHNIQUES :8=.T-.7 NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNN /1A0-JAT-8. NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNN

:8M;8=.,-.7 NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNN ;8ST64;.8T-: NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNN M=S:01 /10A@AT-8. NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNN

/1;1AT1, -.,=:T-8. NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNN 5-S=A0-JAT-8. NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNN

SECOND DISMISSING OF SUB!ECTS 3hen it is required to dismiss a sub ect once the show is in progress it should be done as quic&ly( and as quietly as possible. -f you ma&e it &nown to the other sub ects on stage that there are individuals that are being sent bac& to their seat this could create a chain reaction of other sub ects bringing themselves out of the hypnotic state. This chain reaction process is especially true if you are eliminating a large number of sub ects. The e$act opposite response is also possible if the hypnotist is eliminating only one or two sub ects out of 12 to 1". This sends a message that they do not want to be one of the individuals that Idid not ma&e itI -f the hypnotist &eeps in mind that most people want to be part of the group( and which ever way the group is responding is the way most of your sub ects will decide to respond. -magine if you told the group to laugh at a funny movie and only one or two people started to laugh. 5ery quic&ly these two individuals would realiEe that they are not responding the way the ma ority of the group is responding( and would stop laughing. -f you conducted the same s&it of laughing at a funny movie and had 1+ out of 12 sub ects laughing( it would be difficult for the two sub ects not to oin in on the laughter. 8ne of the most effective ways of dismissing sub ects once the show has begun is by assigning numbers to the sub ects that you want to stay on stage. The hypnotist would tell all of the sub ects that he is going to come by and touch their shoulders and give them a number. Any type of suggestion now using the numbers would distinguish the positive sub ects from the individuals that you wish to send bac&. <or e$ample if you have a number begin

to nod your head up and down. At this point either the hypnotist or an assistant would awa&en the sub ects that have not been chosen and lead them off stage. The remaining sub ects are the oneGs that will be used in the rest of the show. This technique seems to be similar to a contest where individuals are gradually eliminated until the only remaining individuals are the winners. "EY WORD FOR RE-INDUCTION The rapid reBinduction of the hypnotic state will always amaEe your audience. The audience has ust seen the hypnotic state being induced over a time period of " minutes or longer( but will now see you reBinduce the hypnotic state in seconds. The following suggestion is given ust prior to bring the sub ects out of the hypnotic state. 4ou have found this special &ind of sleep to be very en oyable. Since you have found this sleep to be so en oyable - am going to allow you to e$perience it a few more times. 6owever( the ne$t time - want you to go bac& into this sleep( - will point my finger at your forehead or sha&e your hand and say the word S011;. 4our eyes will close and you will instantly go bac& into a deeper sleep. So( from now on when - want you to go into this sleep( - will either point my finger at your forehead and say the word sleep or - will sha&e your hand and say the word sleep. 3ithout hesitation your eyes will close and you will go bac& into an even deeper hypnotic state. ,o you understand H .od your head yes and show me you understand. Three( starting to wa&e up. Two( feeling very good. one( eyes opening all the way( wide awa&e feeling great. 1@-T-.7 T61 64;.8T-: STAT1 3-T6 A ;8ST64;.8T-: S=771ST-8.. A posthypnotic suggestion is a suggestion that is to be carried out after the sub ect comes out of hypnosis. The use of posthypnotic suggestions will amaEe the audience do to the fact that although the sub ects are no longer in hypnosis they are still responding to a suggestion that was delivered earlier. The posthypnotic suggestion should be delivered ust prior to bring the sub ects out of hypnosis. The following type of suggestion may be delivered during your first e$it or at any time throughout the show. SAMPLE SUGGESTION -n ust a moment - am going to bring you to a wide awa&e state and you will feel wonderful and well rested. 3hen you are wide awa&e you will notice a terrible odor coming from the person sitting ne$t to you. -t will be one of the worst odors that you have ever smelled. .ow( no bad language or hitting. - am now counting from 3 down to 1. Three( you are beginning to feel alert and starting to notice that terrible odor. Two(

becoming more alert and the odor is already getting stronger. one( wide awa&e. 3hat a terrible odor.

RAPID RE-INDUCTION The following is the reBinduction of hypnosis after a posthypnotic suggestion has been delivered. All of your sub ects are totally awa&e and are alert. -f you have used a posthypnotic s&it this is the time to elaborate on the responses from your sub ects. 3hen you are ready to reBinduce the hypnotic state there are two ways of doing so. 8n the first reBinduction it is advisable to go to each sub ect individually and as& would you li&e to e$perience that wonderful state even deeperH Then either sha&e their hand while delivering the suggestion of sleep( or point your finger at their forehead while giving the suggestion of sleep. After the first reBinduction the hypnotist may simple point to the group saying sleep ... sleep .... sleep( and watch as each sub ect goes bac& into the hypnotic state. The image of seeing 12 people going from an alert state to a hypnotic state instantly is a sight that the audience will long remember. SALES PITCH The ideal time to ma&e a pitch for either your other services or a product that is available is ust prior to your grand finale. The hypnotist should begin the pitch by giving credit to the sub ects on stage. 2y beginning in this manner the audience will not feel as though they have paid their money to hear a commercial. 2y giving the credit to the sub ects on stage will also increase the success of your grand finale. The hypnotist must &eep the sales pitch short( no longer tan one or two minutes. The following is a sample of the sales pitch. - would li&e to ta&e ust a moment to complement all of the people up here on stage. They all have a wonderful concentration level. 0etGs give them a hand. Lapplause9 6ypnosis is truly amaEing as you have all witnessed this evening. <or those of you that are interested in the therapy side of hypnosis - will have written material available after the show is over. .ow( letGs get bac& to the real stars of the show. EXITING THE HYPNOTIC STATE

There are many ways in which to bring your sub ects out of the hypnotic state. 1ither the hypnotist or an assistant may be the one to bring the sub ects to a wide awa&e state. This is usually done by counting from 1 to " while giving suggestions of feeling wonderful. The sub ects may e$it the state all at the same time or on an individual base. They may be awa&ened either on stage or sent bac& to their seats in the audience and then awa&ened. The choice is up to the hypnotist. T-% ./01 &%23(&%'%/4 () 4. 50651) 5657%/ 4-% )389%:4) )0.601. A typical e$iting is as follows. 8ne( you are feeling very good. Two( beginning to breath a little heavier. Three( starting to wa&e up feeling perfect in every way. <our( becoming more aware of the outside sounds and noises. <ive( at your own pace ta&e in a deep breath and let the eyes open feeling wonderful. ENDING STATEMENTS 4our ending statements should be sure to include the items listed below. -t is best for each individual entertainer to develop the wording for an ending statement that he or she feels most comfortable with. 1. T6A.* A00 8< T61 580=.T11/S 2. T6A.* T61 A=,-1.:1 <8/ 21-.7 S8 38.,1/<=0 3. 8.:1 A7A-. 7-51 T61 :/1,-T T8 T61 S=2?1:TS !. T6A.* 368151/ 3AS T61 S;8.S8/ 8< T61 S683 ". 10A28/AT1 S0-76T04 8. 48=/ 1A/0-1/ SA01S ;-T:6 #. 3-S6 151/48.1 A SA<1 T/-; 68M1 A., A 788, .-76T 4our ending statement should not be any longer than two to three minutes. -f you are going to be available to tal& with people after the show be certain to advise the audience where you will be. HYPNOTIC PRESENTATIONS Thin& of a hypnotic presentation on a scale from 1 to 1+ with the stage show being a 1+. -t is easy to see that there are many types of presentations that can be light hearted( and entertaining with out going all the way into a stage performance.

The opportunity for hypnotic presentations with clubs( groups and businesses is unlimited. There are many individuals that earn their entire income simply from doing public spea&ing. on the following pages you will see several different outlines that will help you develop e$actly the type of presentation that will be the best for you. These are simply outlines( and are to be used as a guideline. 1ach individual will need to alter them to suit a particular spea&ing engagement. 2eware( you may catch the spea&ing fever. Many( many individuals find that giving presentations is a wonderful( natural high. SPEA"ING ENGAGEMENT ONE HOUR. T61 <80083-.7 -S A. 8=T0-.1 <8/ A 8.1 68=/ S;1A*-.7 1.7A71M1.T. )C++ 217-. 3-T6 48=/ 83. ;1/S8.A0 6-ST8/4. 6ow( A., 361. 48= 21:AM1 -.T1/1ST1, -. 64;.8S-S. -. T6-S T-M1 ;1/-8, 48= MA4 A0S8 78 -.T8 48=/ T/A-.-.7( A., :1/T-<-:AT-8.. 6-ST8/4 8< 64;.8S-S. -.:0=,1 M1SM1/ S8 T6AT 48=/ 7/8=; 3-00 217-. T8 /1A0-J1 T6AT 64;.8S-S 6AS 211. =S1, <8/ 41A/S. /1>=-/1M1.TS T8 A:6-151 A 64;.8T-: STAT1. :8.:1.T/AT-8.( A., T61 A2-0-T4 T8 <80083 S-M;01 -.ST/=:T-8.S. 1@AM;01S 8< 3A*-.7 64;.8S-S. ,/-5-.7 A :A/( A., .8T /1M1M21/-.7 T61 0AST <13 ST/11TS T6AT 48= ;AST. 3AT:6-.7 T1015-S-8.( A., -7.8/-.7 8=TS-,1 58-:1S 1T: ..... 1@;0A-. 683 64;.8S-S -S 21-.7 =S1, T8,A4. SM8*-.7( 31-76T 08SS( <1A/S( M1M8/4 -M;/851M1.T( 1T: .......... T6-S -S T61 T-M1 T8 /10AT1 ;AST 1@;1/-1.:1S. 1@;0A-. 361/1 64;.8S-S -S 61A,1,( A., 683 48= S11 T61 <=T=/1 8< 64;.8S-S. ;/1;A/1 T8 ,1M8.ST/AT1 T61 ;831/ 8< S=771ST-8. -. T61 <8/M 8< S=771ST-2-0T4 T1ST.

)C1+

)C1" )C2+

)C3+

)C!+ )C!"

=S1 T61 T1/M :8.:1.T/AT-8. T1ST. 0-76T A., 61A54 A/M T1ST. )C"" >=1ST-8.S A., A.S31/S.

1+C++ ;ASS 8=T :A/,S A., 8/ 2/8:6=/1S. SPEA"ING ENGAGEMENT - ; HOUR

The following is an outline for a three L39 hour spea&ing engagement. 4ou will discover that this outline is easily changed to wor& with a large number of groups. There has also been time allotted for the use of demonstrations. )C++ ).1+ 2egin with a short personal history. 4our training( e$perience( and how you became interested in hypnosis. At this point e$plain to your group the following. 1. 3hat you will be discussing. 2. 6ow it will pertain to them. )C2" )C3+ )C3" )C!+ )C"+ 6istory of hypnosis. 6ypnosis today. L6ypnosis in therapy.9 6ypnosis in the future. L6ow you see hypnosis in years in years to come.9 ,iscuss the qualifications in order to be hypnotiEed. Ability to concentrate( normal intelligence( and the willingness to follow suggestions. /emove fears. <ear of losing control( fear of telling secrets( and the fear of not e$iting.

1+C+" 7roup suggestibility test. .8T1C ,8 .8T =S1 T61 T1/M S=771ST-2-0-T4 T1ST. =S1 T61 38/,S :8.:1.T/AT-8. T1ST. <13 ;18;01 3A.T T8 <A-0 A :8.:1.T/AT-8. T1ST. =S1 0-76T A., 61A54 6A., T1ST. 1+C1" As& the entire group how many people felt the heavy feeling stronger than the lightH L0oo& for show of hands9 As& how many people felt the light feeling stronger than the heavy H L.ote show of hands9 6ow many felt both of the sensations very well. L;A4 :08S1 ATT1.T-8. T8 T61 -.,-5-,=A0S T6AT /1S;8.,1, 3100 T8 28T69 1+C2" 2rea&. =sually ten minutes is enough time. -f the group is e$tremely large you might want to e$tend the brea& to fifteen minutes. ,uring brea& try and tal& to some of the people that responded best to the suggestibility test. 1+C3" 1veryone can be hypnotiEed. 7ive e$amples of wa&ing( or wal&ing hypnosis. ,riving a car( and not remembering the last few streets. 3atching television( and not noticing some one wal&ing into the room. 1tc ....... 1+C"+ Small group suggestibility test in front of the audience. Select three( or four people who responded well in the first test. =se the fall bac& test one at a time. 6ave the audience give your volunteers an applause for volunteering. 11C++ ;repare for hypnotic induction. Select two people who responded the best to use as sub ects. 1$plain to the entire group how one feels while being hypnotiEed.

As& your sub ects if they would li&e suggestions that would build their confidenceH 11C1+ 6ypnotic induction. Any type of induction that you feel comfortable with. Try to avoid a long drawn out induction. 4our audience will become bored. About ten to fifteen minutes total. 11C2" 1$it from the hypnotic state( and allow the volunteers to share their e$periences with you and the audience. 11C3" 3ar stories. Share with the group some of you past e$periences in hypnotherapy. =sually about two case histories. 11C"+ >uestions( and answers. 12C++ :losing statements( and end of tal&. POLICE DEPARTMENTS ; HOUR )C++ )C1+ )C2+ )C3" )C"+ 2egin with a short personal history( your training( and e$periences. 7ive a brief history on hypnosis. 1$plain how the power of suggestion wor&s. 1$plain both direct and indirect suggestions and how they are utiliEed. 1$plain how to use progressive rela$ation( and visualiEation techniques to reduce tension during the interview.

1+C++ ,emonstrate a progressive rela$ation technique on a volunteer from your group. 1+C1" ;ermissive vs. authoritarian approach to questions. 1+C2" >uestion O answers 1+C3" 2rea& 1+C!" :onscious and subconscious responses to your questions. 1+C"+ .eutral territory away from the crime scene and the police department( and why this can be beneficial. 11C++ 7roup practice using progressive rela$ation techniques. L.8T1C at this time you may want to give written wording on progressive rela$ation.9 11C1" 1$plain why stress can interfere with recall abilities. 11C2" ,iscuss the importance of trust and understanding. 11C3" .on verbal communication. 11C"+ >uestions O answers 11C"" :losing statements. .8T1 T8 64;.8T-ST T6-S T4;1 8< ;/87/AM -S ;/-MA/-04 ,-/1:T1,

T83A/,S 610;-.7 ;80-:1 8<<-:1/S =.,1/STA., :8MM=.-:AT-8.S 3-T6 :/-M1 5-:T-MS 8/ 3-T.1SS1S /AT61/ T6A. -.T1//87AT-.7 A :/-M-.A0( 8/ S=S;1:T1, :/-M-.A0. A0S8 24 ST-M=0AT-.7 -.T1/1ST -. 64;.8S-S T6-S :8=0, :A=S1 T61 ;80-:1 ,1;A/TM1.T T8 =T-0-J1 48=/ S1/5-:1S -. /17A/,S T8 /17/1SS-8.S( 8/ 1.A201 48= T8 A:T=A004 T/A-. A. 8<<-:1/ 8/ 8<<-:1/S -. T61 A:T=A0 /17/1SS-8. ;/8:1SS OUTLINE SPORTS IMPROVEMENT - ; HOUR The following is an outline for a three L39 hour sports improvement program. )C++ )C1+ )C2+ )C3+ )C!+ )C"+ 2egin with a short personal history. 4our training( e$periences( and how you became interested in hypnosis. 7ive a brief history of hypnosis. 1$plain the power of suggestion. /emove fears( fear of losing control( fear of telling secrets( and fear of not e$iting. 7roup suggestibility test. .ote use the term concentration test. =se the light and heavy hand test. ,iscuss physical vs. mental abilities.

1+C++ ;ast performances. 1+C1" =se of visualiEation. 1+C3+ 2/1A* 1+C!+ ,iscuss procrastination. 1+C"+ =se of goal setting short( and long term. 1+C"" Self esteem and sports. 11C++ 3inning attitude. 11C1+ 7roup hypnotic induction( deepening and suggestions. 11C!+ /epeat sessions and their advantages. 11C"+ >uestions and answers. 12C++ ,ismissal. OUTLINE - STRESS PROGRAM - ; HOUR .8T1 T8 64;.8T-ST. <8/ T6-S ;/87/AM 48= S68=0, 6A51 A S68/T >=1ST-8..A-/1 1STA20-S6-.7 36AT T614 210-151 :A=S1S T61M

ST/1SS. A0S8 A 6A., 8=T 8. 36AT T4;1S 8< <88, 8/ ,/-.* :A. A,, T8 ST/1SS. :A<<1-.1( S=7A/S 1T:... )C++ )C1+ )C2" )C!+ -ntroduction and personal history. 1$plain ob ectives of program( and how it will benefit the participants ,efine and establish causes of stress. L6A., 8=T9 6ave the group fill out the questionnaire( .8T1C T61 >=1ST-8..A-/1 S68=0, 21 51/4 2/-1< ,1A0-.7 3-T6 T61/1 ;/-MA/4 ST/1SS <8/ T6-S T4;1 8< ;/87/AM. 1+ >=1ST-8.S S68=0, 21 S=<<-:-1.T /eview and answer questions.

)C"+

1+C+" /an&ing levels of stress. 1+C1" -mportance of diagnosing stress levels. 1+C2" Short term stress reduction. 1+C!+ 0ong term stress reduction. 1+C"" ;hysical rela$ation verses psychological rela$ation 11C+" 2/1A* 11C1" 7roup progressive rela$ation and guided imagery to reduce stress( with the use of &ey words for continued results. .8T1C A 6A., 8=T 8. 683 T8 ,8 ;/87/1SS-51 /10A@AT-8. A., ,11; 2/1AT6-.7 :A. 21 7-51. 8=T AT T6-S T-M1 <8/ <=T=/1 /1<1/1.:1. 11C!+ Answer any questions from the group. 11C"+ 1$plain that stress reduction practiced on a regular basis( will help them to perform and feel their best. 11C"" :losing statements 12C++ ,ismissal SELF HYPNOSIS < HOUR PROGRAM. The following is an outline for a si$ hour self hypnosis class( that may be taught in either a single day or divided into two L39 three hour classes. :ost for L#9 si$ hour class will vary from D %".++ to D1"+.++. DAY 1 #C++ #C+" #C1" Self introduction. Advantages of self hypnosis. Short history of hypnosis.

#C2"

3al&ing( or wa&ing hypnosis. 1stablish earlier on that everyone is capable of being hypnotiEed. 1$amples such as driving a car( watching television( etc Suggestibility( and how it wor&s. 7roup suggestibility tests. 1$plain the difference between audio( visual( and &inesthetic persons. Show( and e$plain the following outline that will be followed. ST1; 1. ;/87/1SS-51 /10A@AT-8.. ST1; 2. 7=-,1, -MA71/4. ST1; 3. ,11;1.-.7 24 :8=.T-.7. ST1; !. 64;.8T-: S=771ST-8.S. ST1; ". ;8ST 64;.8T-: S=771ST-8.S. ST1; #. 1@-T-.7.

#C!+ #C"+ %C++ %C1"

%C"+ 'C+" 'C2+ 'C3" 'C!+ 'C"+ )C++

2rea&. ;ositive suggestions verses negative suggestions. 7roup progressive rela$ation e$ercise. -ndividually self induced progressive relation. >uestions and answers. 6omewor&. ;ractice progressive rela$ation e$ercise. ,ismissal. DAY ,

#C++ #C1+ #C3+ #C!+ #C"+ %C1" %C2" %C3" %C!" 'C++

:omments from homewor&. 7uided imagery to distract the conscious mind. 7ive e$amples of several types. 2each( raft( etc ........ Students ideas( and input for guided imagery. 1$plain deepening by counting( and itGs purpose. 3ording of hypnotic suggestions. 1$plain post hypnotic suggestions. 2rea&. 1$iting techniques. 6ypnosis demonstration of an individual from class. 7roup hypnotic induction( with *14 38/, for reBinduction.

'C2+ 'C3" 'C!" 'C"" ).+

7roup practice. 7roup discussion ;roblem solving. :losing statements. ,ismissal. SELF HYPNOSIS 1, HOUR OUTLINE.

The following outline has wor&ed very well when conducted over two Saturdays. The same outline may be used in a variety of settings. DAY 1 1+C++ Self introduction. 1+C+" 8rigin of hypnosis. 1+C1" 6ypnosis as related to bioBfeedbac&( meditation( and mind power. 1+C3+ The differences between hypnosis( and self hypnosis. 1+C!" 1$amples of wal&ing or wa&ing hypnosis. 11C++ /equirements to achieve hypnosis. 11C1" The use of suggestions. 11C!" ,irect( and indirect suggestions. 12C++ ;ermissive versus authoritarian approach. 12C++ 2rea&. 12C1" ;ositive( verses negative suggestions. 12C!" 7roup suggestibility test P 1. 12C"" 7roup suggestibility test P 2. 1C+" 1C1" 1C3+ 1C!" 2C++ 2C1" 2C3+ 7roup suggestibility test P 3. 8pen discussion of suggestibility test. Auto suggestions( suggestibility tests. Steps of self hypnosis. 2rea&. 7roup progressive rela$ation. 1$planation of guided imagery.

2C!" 3C++ 3C2" 3C!" 3C"" !C++

,istracting conscious mind. :lass writing of guided imagery. 7roup hypnotic induction( with post hypnotic suggestion for self hypnosis. >uestions O answers. 6omewor&( self induced progressive rela$ation. ,ismissal. D51 ,

1+C++ :lass discussion of homewor&( and the sensations. 1+C1" -ndividual hypnotic induction. 1+C3" 6ypnosis( and habits. 1+C"" 0evels of hypnosis. 11C1+ /egression( and self hypnosis. 11C3+ 3ording of auto suggestions. 12C++ 2rea&. 12C1" =se of &ey words. 12C3+ ,eepening techniques. 12C!" 1$iting hypnosis. 1C++ 1C3+ 1C!" 1C"" 2C++ 2C1" 2C3+ 2C!+ 2C"+ 3C++ 3C1+ 3C2+ 3C!+ 3C"+ 3C"" :lass practice. ,iscussion. The need for practice. 2est environment for self hypnosis( and time of day. 2rea&. Test( and challenges. ;ost hypnotic. 6ypnosis( and pain control. 6ypnosis( and stress. ;hobias( and hypnosis. Memory( and hypnosis. The use of ..0.;. in self hypnosis. ,epth of hypnosis as related to success. >uestions( and answers. 1nding statements.

!C++

,ismissal.