I’ve put this website together to give you some great tips on Stage Hypnosis, a craft I’ve been involved in for a long time and sincerely love!

(Make sure you have a good look around, there’s tons of great advice in here)

When I first wanted to learn stage hypnosis I found it very difficult. I bought loads of courses, ebooks, DVD’s and other trainings, and nothing seemed to hit the nail on the head. I spent an absolute fortune and those hypnotists who said they would teach it – usually held the real information back!

I was totally fed up and almost gave up.

And then I found the solution. I was lucky enough to get friendly with a famous UK TV hypnotist, who taught me absolutely everything on how to easily hypnotize people in minutes, and even seconds.

I made a lot of mistakes, had a few disasters, learned through experience, overcame my fears, and ultimately kicked ass!

Fast forward to present day: After years in the industry, and over 1000 shows (pub, club, theatre, corporate) under my belt, I’ve put together a guide that will show you exactly how to hypnotize people – no holds barred!

I’ve even gone into depth on how to make a business from Stage Hypnosis and how to bring in big profits in no time at all!

By the time you’ve finished, you’ll be able to hypnotize people! Low cost, high impact, and 100% guaranteed!!

Check it out for yourself by clicking the image below….

In the meantime, enjoy this website, have fun, and happy hypnotizing!

Yours, Jason Gold

The hypnotist who told me this was – as I said, ‘very well known and respected’ so I took his words to heart. Suddenly, my results went downhill and I couldn’t get as many people ‘under’ as I was used to. I began to lose confidence in my abilities as a result and even considered cancelling some of the shows I was doing due to fear. Eventually, my fiancé reminded me of some of the shows I’d been doing up until I had spoken to this other hypnotist and the confidence I’d had whilst doing them. She was right to give me a hard time. When I looked back, I remembered some of the pubs I’d performed in at the beginning and how they’d turned out………

On one occasion, I went into a public house in a ‘less than desirable’ area, and performed to a crowd of only 30 people, 28 of whom were around 50+ in age and didn’t want to take part. I attempted to convince people to join the fun and eventually managed to drag 4 people up. If I’d had the notion in my head that only 1 in ten could be hypnotized on stage successfully then at this point I would have folded, lost confidence, and that lack of confidence would have come across to my volunteers therefore thwarting my ability to hypnotize them. The volunteer must have absolute belief in your abilities as a hypnotist.

So I confidently and brashly jumped in and carried out an induction that took no longer than 6 minutes (and that was including the handlock suggestibility test). 2 of the 4 were deep down in somnambulistic trance, the other 2 hadn’t gone under. I carried on with the show and had an excellent night.

After my fiancé knocking some sense into me I met with another well-known hypnotist who told me that almost everyone he tried it on went straight into trance, and if he had 15 people on stage he knew he would always lose around 3 of them, but the rest would remain a part of the show, deeply under his control.

I preferred this belief to that of the other hypnotist, so decided to adopt it. The question is – who was right? The first hypnotist who believed that 1 in 10 people were the limits? Or the second hypnotist who believed that everyone he tried it on would go into trance? The fact is that neither of them were right or wrong but their belief in the outcome made what they were thinking and feeling into their personal reality.

If you think now about Roger Bannister, the first person to officially run the 4 minute mile. Since the time of ancient Greeks, nobody on the face of the planet could do this – until Bannister broke through and proved it possible. It was apparently scientifically impossible, but Bannister had his own secrets to success – belief in himself and what he was capable of, and nothing was going to get in the way of that.

Several weeks after Bannister broke this record, someone else performed the same feat, and a few weeks later even more people began breaking the four minute mile. Nowadays, we have college and high school athletes achieving this on a daily basis. So was it possible for this to be done before Bannister proved it so? Of course it was, but nobody believed it to be therefore this created their reality. Once people knew it to be possible they began believing that perhaps they could do the same.

I firmly believe that we create our own results in Stage Hypnosis based on our self belief and confidence in our abilities, just as we do in life.

“People usually get what they believe” – Ormond McGill

Whether in a house, in a pub or club, or in a theatre, it doesn’t matter where you are – there will always be various levels of trance in your volunteers.

Hypnotism is much like electricity. No one knows for sure just what it is, but we use it anyway. Basically hypnosis may be regarded as a state of mind conducive to unconscious behaviour rather than more normally regarded behaviour. The human mind is generally regarded as comprising of two areas – the conscious mind and the unconscious (or subconscious) mind. The conscious mind is the area that processes all of your immediate thoughts and controls what you are paying attention to at any given time. It can probably best be described as the little voice in your head that you refer to as ‘me’. The unconscious mind is the vast storehouse of information in your brain. This is where all of your beliefs are stored, your memories, your morals and values, your past experiences, opinions and suchlike. The unconscious is also responsible for the beating of your heart, the blinking of your eyes, your automatic reactions and so on.

In hypnotherapy, the hypnotist would guide the client to relax their mind and body and lead them into deep relaxation through a blend of repetition, suggestion, relaxation, metaphor and the use of their language. After a while the analytical (conscious) mind shuts down and goes to sleep, allowing the hypnotist to give the suggestions to the part of the brain where the decisions, beliefs and suchlike take place, in other words ‘where change occurs at the deepest level’. In this sense, we can think of the conscious mind as the analytical gatekeeper to the unconscious, protecting it from harm.

Although Stage Hypnosis is ‘speed hypnosis’ in nature, the principles are generally the same. For example, If you walked up to a completely conscious person and told them they would act like a clown when you snapped your fingers, they would probably think you were insane, as their conscious mind analyses and processes what you have said.

However, when the conscious mind subsides and shuts down, if you give a direct command or suggestion to the unconscious, the mind is then unable to process the information to find out whether it is true or not, and consequently it is believed to be so. It then goes directly to the unconscious as being true and so is acted upon as an automatic reflex action.

If we count the number of comedians out there, or the number of actors, or the number of singers and dancers, we would be there forever. But how many have mastered the art of being able to take total control of the minds of other people?

So in going forward, there are several things that I’d like you to keep in mind.

Practice

The ability to hypnotize flawlessly comes with practice. The importance of practice in hypnotising cannot be over-emphasised. This book has been written in a way that will teach you factual information about how to hypnotize people, and also laced into the many stories given is the information that will teach you what you need to know at the unconscious level.

Persevere

Success in hypnosis comes with trial and error and as you will learn, do not expect to hypnotize everyone you try. You may succeed immediately with the very first person or you may not. Persevere and you cannot fail providing you follow the instructions given in this book.

You’ll soon find that as you get better and better and continually hypnotize more people, you’ll develop the skills and the mindset necessary to influence the majority with whom you work.

I personally have never used agents (or had agents using me). I believe in the entrepreneurial approach of setting up shows on my own. This brings with it the risk of losing BIG and still having your costs if the show fails but also has the merits of earning you a potential fortune. If this is not your style then by all means work with agents, it’s a sure way to bring in the work.

I believe there are agents who are out with good intentions and some who care only for themselves. What you have to remember is that they are out to make money. If they think they can make money from you then they will, if they don’t, then you’ll get very little work from them. Either way, using an agent is not a bad thing, it can be a smart move, but remember never to sign a contract with an entertainment agent.

When you move away from pubs and clubs and into the big time, this is when things start to change. At this point, agents may just be your ticket to bigger and better things and I wouldn’t advise against signing contracts here, but I do suggest you read the small print and make sure you know exactly what you’re getting yourself into first.

Many people said I was mad when I went to book theatres without an agent but it really isn’t difficult. You’ll tend to find that the people with the least knowledge on a subject are the ones shouting about it. I ignored anyone who said these things to me. So by this point I’d been working the pub scene for some time, making great money, and using other hypnotic ventures to pull in even more, plus I had a member of staff working for me. Paul, my right hand man asked what he was to do, I said, “Research theatres, and book them for me”. A day later he came back and said that of the five he’d contacted, one of them had given a solid agreement.

With theatres, the contract usually comes from their end as it’s their service you are hiring. I encourage you to read the small print and know what you’re getting into before you sign. You must also research an area/location thoroughly before putting on a show. Many times I learned the hard way by booking a venue and having little or no tickets sell, then someone local would say to me “Shows like this don’t sell out here anyway”. Well thanks for that information, two months too late. It’s nobody else’s responsibility but yours. Ask around, look at the other events and find out how well they are selling, and make your decisions from there.

Paul booked our first theatre, we signed the necessary contracts, asked their advice on marketing and advertising and how they could help us, then we had our posters printed and got to work promoting the event. Theatres usually have a lot of good information and contacts at local radio stations and newspapers they can put you in touch with, but you’ll rarely find out unless you ask them. Theatres also have their own box office so the tickets are professionally taken care off. The way a direct hire of a theatre works is simple; you agree to their terms and costs, then you do your thing and pay their invoice after the show, usually with a small deposit upfront. Nice and simple!

I remember a time I wanted to perform for a large corporation at their Christmas event. I searched the company website and found names of some of the highest ranking members of staff, the partners. Some websites will give you details on the person such as “Dan likes football, reading, and spending time with his children”. So I found Dans details, decided he seemed a more approachable person, and planned how to get in touch with him. I put a five minute DVD recording of some of the best parts of my shows in an envelope. I then wrote Dans details in my own handwriting and market it ‘PRIVATE and CONFIDENTIAL’, before spraying some of my fiancées perfume on it. I imagined Dan’s secretary finding this, rolling her eyes and passing it along without thinking it may be a sales pitch. When Dan received the letter, he opened it to find a note saying “If you’ve opened this envelope, you MUST take five minutes out to see what’s on this disc, otherwise you’ll be left wondering”. Curiosity took its toll and as it happened, the DVD footage was something Dan found funny. At the end of the disc was my name, website address, and contact details. Two days later Dan called me, admitted that my approach was rather cheeky but said that he liked the initiative that I’d shown. I met him at his office the following week and he agreed to pay me several thousand pounds to perform for an hour and a half. Not bad, is it?

This encounter set the mark for me. A few weeks after the meeting with Dan I was performing at one of my regular venues when I was approached by a company director who’d watched the show. He told me he loved every minute of it and wanted my act booked for his event at Christmas. This was still only October. I met him in his office a few days later and he asked me how much it would cost. I was smart to sidestep the question, get him excited about the show, and then casually land the figure. To be honest, I didn’t expect him to pay the amount asked for but by setting the bar high enough, at least the negotiations would still bring in an excellent profit for me. He agreed to the figure and asked me to invoice him straight away.

The corporate bookings continued (and still do) to come at me and every July I make an extra special effort to begin hunting for opportunities, when I know the corporate world is beginning to book its Christmas entertainment.

When dealing with bars, social clubs and nightclubs, many times the agreement will be over a handshake and nothing more. In the corporate world however, most things are handled through contracts. Naturally, you want to look as professional as possible when dealing with people so I designed a contract with a solicitor friend. (By the way, these are the times it’s important to wear your fancy shoes and designer suits.) The contract stated that half of the agreed amount was to be paid immediately, and the other half right before the event. This contract also covered all angles including the audience not wanting to participate in the show, acts of God, time issues and much more. It’s a great idea to have your own contract because if you leave it to the client to make one, this can end up causing concerns with a subject they may know nothing about. You don’t need this kind of hassle.

Don’t wait until the last minute either, you will want to be prepared when opportunity knocks, otherwise it could slip right through your fingers.

Hypnotherapists use suggestions exactly as the word suggests. Think of the statement – “Don’t THINK of a pink elephant”. To not think of a pink elephant, one has to go inside and first think of a pink elephant, in order for the sentence to make sense. This is useful as the client can be guided towards relaxation without being challenged due to the clever use of words, vague and ambiguous language, and suggesting what the client might or might not want to do next. It gives them a choice.

Stage hypnotists on the other hand, present their statements like commands. It is important that the volunteer believes what you are saying so you have to be in control from the start, and making gentle suggestions is not necessarily the way to do that.

Through time and experience of hypnotising volunteers, you will learn many things about how you word your phrases and commands. Many times people speak without thinking first. As a stage hypnotist, you have to think on your feet and make sure to think through all of your sentences before you say them, otherwise you could have a disaster.

One time in a large auditorium I was presenting a show. I had my volunteers hypnotized and ready to play. I told the line of volunteers that they were all desperate for the toilet and were close to wetting themselves, but that it would not actually happen. I was forcing this issue as the crowd roared with laughter at the squirming volunteers. And then, one of the men ran to the back of the stage, revealing his manhood, and urinated on the curtains. The stage manager stood at the back of the room looking horrified but as the crowd were loving every minute of it, I couldn’t help but laugh as well.

So I gave him the suggestion/command, “You can hold it, now go to the bathroom”, expecting him to put it away and referring to his need to urinate. The man took this very literally and with his hand around his manhood, he ran up the middle of the room towards the bathroom, revealing himself to everyone in the room. As much as this had been hilariously funny, these things can also work against you on stage, so it’s wise to choose your words carefully. (The man at the show found this hilarious afterwards and was completely unphased by it).

At another show, I told the volunteers from a group of women at a hen night to imagine they were schoolchildren and I was their teacher and that when I turned my back they would do as schoolchildren would. Having performed this routine many times I gathered they would pull faces and make signs behind me. The crowd’s faces were a mixture of shock and excitement a moment later and I hadn’t actually said anything to make it so, so I figured something must be going on behind me. I turned around in the nick of time to see one of them women swinging to punch me, running at me, spitting and swearing. I put her to sleep on the spot whilst standing up, and looked back at my crowd who were in knots at this hilarious sight. It turned out that this woman was a bit of a well-known local ‘hard case’ and had been expelled from school from beating up her worst teacher. After this happening, I decided that funny as it was I would tell the future ‘pupils’ that they could not leave their chairs.

In this chapter, we’ve covered the bases of levels and depths of trance, what hypnosis is and examples of how it works. We’ve covered the power of suggestion, time distortion and the post hypnotic state. Already, you’ve been learning many of the things that you need to know to be an effective Stage Hypnotist. You now know more about how hypnosis really works than many of the stage hypnotists out there. In the following chapter we’ll move to the next level, going into detail on your hypnotic power, how to use your voice, language, and your body to become a masterful communicator in the process of hypnotising. We’ll discuss the many moving parts of the hypnotic process and most importantly, we’ll discover the key secrets to stage hypnosis, before going on to chapter four which will give you precise recipes for inducing the state we have been discussing throughout this book.

Hypnosis is about cooperation – not confrontation

Somnambulism is defined as the habit of people walking around in their sleep. In hypnosis there are many definitions of this term. One of the things that confused me when I began learning; was that one person would say ‘somnambulism is too deep for an effective show’, and someone else would say ‘somnambulism is the perfect state’. Do you know what I think? It really doesn’t make a difference what it’s called. The difference that makes the difference is your ability to induce the state of hypnosis and have the sensory acuity (ability to read people) to notice how they are reacting and to respond accordingly. For the purposes of this book, let us assume that somnambulism is indeed the perfect state required for hypnosis, which we will discuss in a moment. Many studies have stated that only a certain number of people can be hypnotized to somnambulistic levels, I believe this to be false.

There is no such thing as a bad client, only an inflexible hypnotist – Milton H Erickson

Whilst anyone can be placed in hypnosis there are many variables that affect the situation. For example, not everyone can be hypnotized in a stage situation, this is why I began by stating that Stage Hypnosis was a numbers game. There are several keys to performing a successful stage show, one of which is by appealing for the largest amount of people possible to volunteer. Your job whilst performing is to carry out the hypnotic process in an entertaining manner, making sure your audience don’t get bored, and making sure that the desired outcome actually happens. Only a certain amount of people will be hypnotized in your show. It is up to you to develop a way to dismiss them from the stage so it looks proper to the rest of the audience.

Think about it, have you ever drifted gently into a daydream and nothing else around you seems to go in. You could be sitting, staring into space, thinking about an enjoyable experience and you don’t notice the other noises around you, you don’t notice the weather, you don’t notice – that someone is talking to you!

Until you, snap out of it. This is the state of concentration that the volunteer must be in to be hypnotized. Concentration is essential. I like to think of it as ‘relaxed concentration’, and when carrying out a hypnotic induction (the process of hypnotising), I tend to only mention the word ‘concentration’ at the beginning, then simply allow them to drift off on their own.